Blue Peter: Animation and Photography Special Blue Peter


Blue Peter: Animation and Photography Special

A special Blue Peter, showing some amazing things you can do with a camera. Helen and Barney make their own animation on an epic scale.


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Transcript


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On today's Blue Peter, we get creative in a huge way.

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Yes, we're turning things on their head by trying to create something

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on an epic scale.

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Welcome to Blue Peter's Big Animation!

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Also on today's show -

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Find out how cameras can be used to take creative pictures

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from perspective photography to self-portraits.

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We meet the man who's photographed celebs from Kate Moss to the Queen.

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Plus I get a bird's eye view of one of our most majestic birds of prey.

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What an amazing feeling!

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Hello! Now, this isn't our usual home.

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We've set up shop in this amazing studio

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to ring in the new year in a special way.

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Today we're going to be getting creative

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and showing you some amazing things you can do with your cameras.

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It's estimated that there are 2.5 billion cameras on Earth,

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which means that around one in three of us own one.

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That could be a traditional camera or your smartphone

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or even on your games console.

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Normally you would just take photographs with cameras

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and that's what we're doing today - but on a bigger scale.

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Take a look at this.

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This is our Big Idea.

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We're going to make a massive animation!

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Now, this is our animated storyboard, so it sets out the story

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we want to tell and the characters who will be in it.

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We'll use this as a guide to tell the story of Helen parachuting

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onto the ship, then after a spot of bad weather and some lightning,

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she gets into trouble and falls overboard

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and is chased by a shark, but it's Helen Skelton.

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She won't get eaten by a shark.

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She manages to escape, lands on an island

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and they celebrate with a firework.

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That is hopefully what we're going to create.

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So I'm playing myself? You've dressed it up nicely.

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You said this was a starring role.

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It basically means I'm going to lie on the floor all day.

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Yeah, and I get to boss you about by being the director

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but I don't know that much, so very soon we'll be speaking to

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one of the big brains of Aardman Animations but before we do,

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last year I showed you how to take different styles of photography

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with your cameras.

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One of my favourites was perspective photography. Take a look.

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Check out these photos.

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They've been taken using a technique called perspective photography.

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It's a way of forcing your brain to make things look

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completely different by the use of optical trickery.

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So, how does it work?

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The trick is actually quite simple.

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When an object is close to the lens, it looks really big, but when

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the object moves further away from the lens, it's really small.

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Is that a tiny lion or a giant camera? So, what do you need?

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You need an open space, so I've come to the park.

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This will be perfect for what I need.

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Secondly you'll need a camera, you can take this picture on any camera.

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Thirdly, you'll need a person, a subject or an object

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to take a picture of.

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Today I'll be using Rob and this football. Thanks, Rob.

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And finally, you'll need your imagination.

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The best perspective photography pictures are the original ones,

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so get your thinking caps on, and let's get started.

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OK, Rob. Are you ready? About 20 metres that way.

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Perfect.

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What we'll try and do here is create the effect of Rob kicking

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the football towards the camera, so as you can see, Rob is miles away,

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and he's going to strike that famous footballing strike pose

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and when he does that, Natalie's going to throw the ball

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into the camera and if we can time it just right, it will look like Rob

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has kicked the football from where he is, right in front of the lens.

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That's the theory anyway. Fingers crossed.

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OK, let's try one. One, two, three.

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Oh, it's so close!

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There's the pose we're after. That one is where the ball ended up.

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This type of photography takes lots of time and patience,

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so don't worry if you don't get it right first time.

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It's so close! One, two, three.

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Yes! We've got it! That's what I'm talking about right there.

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Fantastic. I am so pleased with that photo.

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Perspective photography is a lot better and way more fun

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if you get your friends to help you.

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All right, guys!

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So, I've bought some top photographers along

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who've each brought their own camera.

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First up is Molly. She's using a flashy tablet with an inbuilt camera.

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Then we've got Mia,

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with an instant camera that prints photos straight away.

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Kalim has got a sleek compact digital camera.

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And Ashir has got a low-cost disposable camera that's so retro.

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The guys have split into pairs so they can take their photos

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and they're coming up with ideas thick and fast.

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I've got a dog called Darcy and I want her to be very, very big.

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-We can make the ball proper big spinning on our finger.

-Yeah.

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I've brought a balloon and if we blow it up dead big, it'll look well good.

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Ashir is trying to take a picture of Kalim showing off his skills

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by spinning a huge football on the end of his finger.

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Kalim's idea is to squash Ashir under my giant foot. How cruel.

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Face!

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I've just stood on your head!

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So let's see how the girls are getting on.

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Mia's trying to create the effect of Molly blowing a huge balloon

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across the park.

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-Down a bit.

-Have you taken it yet?

-Nearly there.

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Don't move!

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How's that?

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Ah, that's brilliant.

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Molly wants Mia to make her dog Darcy enormous

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and have Mia give her a kiss.

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That's cute.

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-Now bend down!

-Now bend down and give a kiss.

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THEY GIGGLE

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So how did they get on? Well, here are their photographs.

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Look at that for a shot, isn't it brilliant?

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Ashir's photo of Kalim with the ball on the end of his finger

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like a basketball player and a giant Barney.

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Take a look here at Molly's photographs.

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That's Mia kissing Darcy on the nose.

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To get that right with the camera was quite tricky - it's a good photo.

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There's Molly blowing a big balloon across the park.

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That was directed by Mia of course.

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Let's not forget Kalim's photo where the big shoe is squashing Ashir.

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These are absolutely brilliant.

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They're quite difficult to do with an instant camera

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but the point is to get out there, enjoy yourself and be creative.

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Why not give it a go?

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As you can see, we've just started filming the parachute drop

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part of our animation.

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-How are you feeling, star of the show?

-Stop buttering me up!

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I'm the director, I'm supposed to tell you that you're brilliant.

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Anyway, the reason we're here today is because

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so many famous characters have been brought to life here in Bristol.

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Shaun the Sheep. Robbie the Reindeer.

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And the last time I was in Bristol, I got to try a bit of animating myself.

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Only the Pirate Captain.

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Hah! I'm the Pirate Captain and I'm here for your gold!

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You can't lose, Captain! I'd bet my face!

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Look at this. One touch. You see this guy here?

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You recognise something he might be wearing there?

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This just got a whole lot cooler, didn't it.

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Even at this size, I'm pretty certain that animating these models

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is a real labour of love, and now it's my turn

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to find out just how tricky it is.

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I'm about to watch the director, Peter Lord,

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act out the scene that he would like me to animate

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on our Pirate Captain over here, so this is what I have to do.

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Hah!

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It's so quick, I have to watch it again.

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-That's not even a second, is it!

-62 frames.

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So it's just over two seconds.

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OK. That normally would take you how long to animate?

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Erm, like, a day?

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-How long have I got?

-Two hours!

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I'd better get started then, hadn't I.

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Stop frame animation works by taking frame by frame shots on a camera.

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Between each shot, the characters are repositioned just a tiny amount

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so when the shots are played continuously,

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it looks like the characters are moving.

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That's it. Done. First frame. Yay!

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Peter's impressive movie credentials include animated favourites like

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Chicken Run and Wallace And Gromit so the pressure is really on to do well.

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As long as it has the right feel-good performance

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and delivers exactly what Pete is requesting

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then I think it's going to be a good shot.

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Time's up. It's the moment of truth.

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Hah!

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I'm not sure that I'm going to offer you a job, like, today.

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If you were doing it for real I'd say bigger.

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I'd say a bigger gesture, a bigger arc.

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I would have gone back and done a few things differently.

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I just knew I had to get him face-on at the end.

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-But I've really enjoyed it. Thank you very much.

-Good.

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Thank you. And you've done a good job.

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-Yes!

-Yeah.

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Hah!

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I was hoping some of the technique and skill had rubbed off a little bit

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but the truth is, animating is a very difficult thing to do

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so I'm delighted to welcome Merlin.

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Hi. You're a director and animator for Aardman Animations.

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You know what you're doing. Help!

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This is our canvas behind you, where we're starting to make our animation.

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-What do you think?

-I think it's amazing.

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Your animation stage is huge. Your camera's up in the roof.

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I think you've got everything you need to get cracking.

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When you think of animation, you think of a little camera in a little scene

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and this is on a much bigger scale so I presume the decisions that you

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make are just the same but they're emphasised by the scale.

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Yeah, absolutely. Animation can be done anywhere.

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It can be done small or large.

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The only difference here is you need more space.

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You've done a big animation before so you know what you're talking about.

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The Gulp, which is just brilliant.

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HE GASPS

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Ah! Oh...!

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CLOCK TICKING

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HE GULPS

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EXPLOSION

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How did you go about doing that? How long did it take?

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Gulp was animated on a beach with a camera up on a crane

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looking down onto the beach,

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and we had an army of animators running into the frame.

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They all had a little bit that they were responsible for,

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and everyone would have to clear frame - "take the shot!",

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and then everyone would come running back in.

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We had four days to shoot it, which is actually a tiny amount of time

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for the amount of animation it was.

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It's difficult to work with celebrities who can talk.

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Yours don't necessarily talk, but it is your job to bring them to life.

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That's right.

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Gromit, for example, has no voice,

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so all of his performance has to come from his physical movement.

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SHE GIGGLES

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Can you explain what you do when you direct?

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The most important thing when you start to animate

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is to get off your seat and act it out,

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so you actually understand what you're trying to bring to life,

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so for example, in the animatic, Helen's got to do some swimming,

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so it's very important that you as a director know what the movement is.

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But you've got to be across that as a team, haven't you?

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Yes, and as director, what you need to do is get up and practise

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the actions so you can communicate clearly to your team what's needed.

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OK. We're going to get on with it cos we are really against the time.

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All animation takes time.

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Did you hear that, Skelts?

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We're up against the time here so you have to behave yourself.

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Barney, stop rushing me! I've just landed on a boat!

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Anyway, if we're in such a hurry,

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why don't we take one picture rather than hundreds?

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What, like a portrait photograph?

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That's not as easy as it sounds,

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as I found out when I went to meet one of my heroes.

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He's one of Great Britain's top photographers.

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He's called Rankin and this is what happened when he taught me

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how to take the perfect portrait photograph.

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Rankin became well-known after founding an uber-trendy magazine,

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and then started to make a name for himself

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as THE celebrity portrait photographer of our time.

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Snapping the likes of Harry Potter actress Emma Watson,

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singer Adele and R'n'B legend Jay-Z.

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When you take a portrait photograph, you have to get quite close

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and intimate to the person you're taking the photo of.

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Woah! Close enough!

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This can make them feel quite awkward, which in turn makes it quite

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tricky to get the right shot, so I've come to Rankin's London studio

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to get his top tips on how to get the best from your subject.

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That's good.

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You know how when you go to a party

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and then you find out as you arrive they've got a bouncy castle?

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That's how I feel right about now.

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Rankin. Hi.

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-You all right?

-I'm very good.

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It's such an honour to meet you. Thanks for having me today.

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I think you're most famous for your celebrity portraits,

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so you've got a studio, you've got a subject right in front of you...

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You want me to take your photograph?

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-Yeah!

-OK, yeah.

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-Just like that.

-What are we going to do with you?

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I don't know, you've got a lot to work with!

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While Rankin snaps away, I pick his brain for his portrait secrets.

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Obviously you have a lot of experience in this.

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What is it you're looking for while you're doing this?

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I'm looking for a kind of connection between you and the camera,

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so I always say to people "look through the lens, don't look at it".

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-Imagine you're talking to somebody with your eyes.

-OK.

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There you go.

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What happens if you get a celebrity who's quite difficult to work with?

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How do you play that?

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There's techniques you can use to deal with difficult people.

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Try and make them laugh, trying to make a fool out of yourself first

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to make them feel a bit comfortable. That always helps.

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Try and treat them like normal people,

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which is what I tried to do with the Queen.

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I saw her laughing and I thought, that's what I wanted.

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I wanted you to be the person.

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Cos that's what we really relate to. We don't relate to celebrity.

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We relate to real people.

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Even when I'm photographing people that are not famous, I would always

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let them have a look at the screen and talk them through the ideas.

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I think if you do that then you get the best out of people.

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So the key to taking the perfect portrait is to make

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your subject feel comfortable enough to show you the real them,

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and clearly Rankin knows what he's doing

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because he's captured that cheeky sparkle in my eyes.

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I think that's good.

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For me there's a moment where you've kind of relaxed

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and you're looking... It's quite a bit more intimate.

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So now I need to know how to take a self-portrait. Have you got any tips?

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Get a family member or a best friend to come in and give you a hand,

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because they'll have to sit in to show you

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where you're going to frame up.

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The second thing is to make sure your light makes you look good.

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You want to look cool.

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And the third thing is once you're ready to shoot,

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imagine you're looking through the lens at the person,

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you're talking to them with your eyes, and then just have fun.

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-OK. Let's give it a go.

-Yeah.

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To take my self-portrait, I'm using Rankin's fancy equipment.

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This lead connects to his very high-tech camera to take the shot.

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But if you want to take a self-portrait at home,

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all you need is a camera or a camera phone with a timer on it.

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That's really funny, that one!

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And don't forget you can be as crazy as you like with your poses

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and even use props to bring out your personality.

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-Brilliant.

-How about the one where I'm leaning forwards?

-That one?

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-Yeah.

-I like that one a lot.

-Yeah, I love that.

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Fantastic. Thank you very much. There you have it.

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It's been such a pleasure. Thank you so much for that.

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And get out there, start taking photos and enjoy yourself.

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And here it is, the finished portrait. Isn't it amazing.

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I love that picture. My grandma will love it even more.

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It was such a nice day with Rankin. I'm sure he learnt a lot from me too.

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Helen.

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Yes, Barney. I'm sure you did teach Rankin a thing or two.

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I'm sure you taught him some bad jokes. Great jokes, I mean!

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I love that photograph.

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You probably got that in last year's calendar if you printed it out.

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As we speak, our giant animation is still under way.

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The shark is making its way across the waves.

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In that sketch, I'm a really fast swimmer so I've already left frame,

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which means I can come over here and tell you about some of the ways

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that you can have a go at animating at home.

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Now one of my favourite ways, I used to do this when I was younger,

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is to create an old-school flip book.

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You take a notepad and you draw a picture in the corner of each page.

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Each picture needs to be slightly different,

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so if you've got a guy running or tumbling like we have there,

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each one should be ever so slightly different.

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When you've created all of your drawings, you simply flip the book.

0:16:530:16:57

And he should run or fall out of the page.

0:16:570:16:59

Using a notebook is a really cheap way to try your hand at animation

0:17:000:17:03

but nowadays there's so much technology out there

0:17:030:17:06

and all kinds of free downloads.

0:17:060:17:08

I found three for you to try.

0:17:080:17:10

If you've got a PC or a Mac, then you could try iCreate to Educate.

0:17:100:17:14

If you have an iPhone or an iPad, then you could try iMotion.

0:17:140:17:19

If you've got an Android device, so a tablet or another kind of smartphone,

0:17:190:17:23

then you could try Stop-Motion - Lite.

0:17:230:17:26

Then all you need to do is find something to animate.

0:17:260:17:29

I have a little Barney dog here.

0:17:290:17:31

He's a lot better behaved than the real one.

0:17:310:17:34

I'm going to use him for my animation so I've got my download,

0:17:340:17:38

I just need to take one picture.

0:17:380:17:39

Then I'll move him ever so slightly along, take another picture.

0:17:430:17:47

Move him ever so slightly along. Take another picture.

0:17:470:17:50

And I might on the next one make his tail wag a little bit.

0:17:500:17:54

Once I've shot a few stills,

0:17:560:17:58

this software can quickly preview how the animation looks.

0:17:580:18:01

All the apps that we've downloaded are free

0:18:020:18:04

so they're a great way to try your hand at animating.

0:18:040:18:07

But if you haven't got a device, then why not ask at school.

0:18:070:18:09

They might have something that you could use.

0:18:090:18:11

I could spend ages on this but I've got a giant animation

0:18:110:18:15

to swim back into, so Barney, how's it looking?

0:18:150:18:17

It looks really good, Helen.

0:18:170:18:19

I've come up here to make sure the cameras are still rolling

0:18:190:18:21

cos if that doesn't work, we don't have much of an animation.

0:18:210:18:24

This isn't the first time I've had to come up high

0:18:240:18:26

to take a photo of something. Last year I went para-hawking.

0:18:260:18:29

That's where you go up in the sky in a paraglider

0:18:290:18:32

and try and take a picture of a bird of prey.

0:18:320:18:34

It doesn't sound easy, does it. No. That's because it wasn't.

0:18:340:18:37

Say hello to Findo.

0:18:390:18:40

If we were in the wild, this would probably be a bit different

0:18:400:18:43

cos he would think I was food and would try to eat me,

0:18:430:18:45

but luckily he's been trained.

0:18:450:18:47

He's a very tame Harris Hawk and he's very happy to sit there.

0:18:470:18:50

This is an ideal photograph opportunity,

0:18:500:18:53

and when these guys are in full flight, they can fly

0:18:530:18:55

thousands of feet in the air and they can travel at very fast speeds.

0:18:550:18:58

It's very difficult to photograph them.

0:18:580:19:00

But that's exactly what I'm going to try to do today

0:19:000:19:03

but rather than take a photograph from down here looking up,

0:19:030:19:05

I'm going to go up there with him.

0:19:050:19:07

This could be one of the most difficult photography challenges I've faced yet.

0:19:070:19:11

To get my picture of the hawk in flight,

0:19:150:19:17

I'm going to use a paraglider.

0:19:170:19:19

It's a bit like a parachute that flies like a bird of prey.

0:19:190:19:22

Once we're up in the air, Findo's handler will also take to the sky.

0:19:240:19:28

The plan is that Findo should fly close to his handler,

0:19:280:19:31

so if I can get myself in the air and if we can get near enough,

0:19:310:19:35

the photograph will be stunning - but this isn't going to be easy.

0:19:350:19:39

The man charged with getting me airborne and keeping me safe

0:19:390:19:42

is my pilot, Steve.

0:19:420:19:44

I've got the camera set up, I know what we need to do,

0:19:440:19:46

you've got the paraglider set out, so all we need to do now is take off.

0:19:460:19:50

We've got quite a lot of wind at the moment.

0:19:500:19:53

Ideally we need somewhere between ten and 20mph of wind.

0:19:530:19:57

It's a bit over that at the moment so we may have to wait.

0:19:570:20:00

-Too much wind can cause problems for us.

-That's right.

0:20:000:20:03

If the wind's too strong, the paraglider may go backwards

0:20:030:20:06

and we could end up over the forest or in the trees or something.

0:20:060:20:10

It seems that unless the wind drops,

0:20:110:20:13

my dream of photographing Findo from the sky

0:20:130:20:16

might not get off the ground, so how exactly does a paraglider work?

0:20:160:20:20

It's a glider really, not a parachute, so it glides.

0:20:220:20:25

The sun is warming up the ground out there

0:20:250:20:27

and creating hot air rising, and if we fly into that hot air rising

0:20:270:20:32

we can go up and rise with it.

0:20:320:20:34

As we wait for the wind to drop, it gives me plenty of time

0:20:350:20:39

to get anxious about running off a cliff.

0:20:390:20:41

It's nice standing here looking down on the valleys there,

0:20:410:20:45

but in a short amount of time, I'll be up there looking down.

0:20:450:20:49

This is actually quite scary. It's not about taking a photo any more.

0:20:490:20:53

It's about surviving.

0:20:530:20:54

Suddenly Steve and his team notice that the wind has dropped

0:20:560:21:00

to a level that will allow us to fly.

0:21:000:21:02

With very little notice, it's time for me to get my gear on

0:21:020:21:05

and take to the sky.

0:21:050:21:06

I'm so nervous.

0:21:080:21:09

I've never done this before and I'm about to throw myself

0:21:090:21:12

off the edge of a cliff, so, yeah...

0:21:120:21:15

Little nervous.

0:21:150:21:17

I can't believe... This is ridiculous.

0:21:170:21:20

So here we are. We're in the air. What an amazing feeling!

0:21:290:21:34

Do you know what's really strange? It's just a chair, isn't it.

0:21:360:21:41

-There's nothing else to it.

-A flying chair.

-What a beautiful feeling.

0:21:410:21:44

It's everyone's dream to be able to fly. It's incredible.

0:21:440:21:48

-There's a lot of firsts happening today.

-Yeah.

0:21:490:21:52

This is the first time I've ever been in a paraglider.

0:21:520:21:54

It's the first time I've ever tried to take a picture of a Harris Hawk.

0:21:540:21:58

It's also the first time this particular Harris Hawk has flown

0:21:580:22:02

towards anybody other than Martin, his handler, so there's a lot

0:22:020:22:05

of things that could go wrong today but we're more than prepared

0:22:050:22:09

to give it a go and hopefully, we'll get a nice shot for you.

0:22:090:22:12

Martin is about to take off, and hopefully Findo will follow him.

0:22:120:22:16

If we can get close enough, I should be able to get a fantastic picture.

0:22:160:22:20

To save energy, Harris Hawks use the same rising hot air that I'm using.

0:22:220:22:27

It enables them to fly without having to constantly flap their wings.

0:22:270:22:31

They have amazing eyesight.

0:22:310:22:33

It's so good that if Findo could read,

0:22:330:22:35

he would read a newspaper from a quarter of a mile away,

0:22:350:22:38

which is great for spotting prey at a distance.

0:22:380:22:42

Harris Hawks are such good predators that they are sometimes

0:22:420:22:45

used at airports, and even some sporting venues,

0:22:450:22:48

to help remove pesky pigeons.

0:22:480:22:50

OK, let's try and get this snap.

0:22:530:22:55

He's just out of range. Beautiful bird. Just a bit too far away.

0:23:000:23:05

After 20 minutes, the wind has dropped

0:23:100:23:13

and my window to get a picture has closed.

0:23:130:23:15

I just hope I've managed to get a good picture.

0:23:150:23:19

It felt incredible to be up there, it's like Superman, isn't it.

0:23:190:23:22

It's Superman but sat down. It's the casual Superman if anything.

0:23:220:23:25

That moment when you throw yourself over the edge,

0:23:250:23:28

it's like, "what am I doing?".

0:23:280:23:29

But once you're up there, it's the stuff dreams are made of.

0:23:290:23:32

Everyone's dreamed about having their own wings to fly

0:23:320:23:35

and I pretty much just have done sat on a seat.

0:23:350:23:37

What an incredible thing to do.

0:23:370:23:39

I had an amazing time, and these are my photos.

0:23:390:23:41

Even when I was in the sky with him,

0:23:440:23:46

it was still really hard to get close to Findo to get a close-up picture

0:23:460:23:49

but I think he's a good-looking bird at a distance anyway.

0:23:490:23:51

You give yourself a hard time. I love that picture.

0:23:510:23:54

I've never been above a bird before while he's flying,

0:23:540:23:56

it was quite a unique feeling. That's the result of the shots.

0:23:560:23:59

Right, Barney. It is almost time to finish our giant animation.

0:23:590:24:03

-I have swum away from a shark.

-You did really well.

0:24:030:24:05

I've never seen you swim that fast.

0:24:050:24:07

But it's now time for me to approach a desert island and celebrate.

0:24:070:24:11

So I need some people to help me.

0:24:110:24:12

That's why we've got some guys along from a local school in Bristol.

0:24:120:24:15

Who wants to help us finish our animation?

0:24:150:24:17

ALL: Me!

0:24:170:24:19

-Right answer! Let's go!

-That'll do.

0:24:210:24:23

In this final scene, I'm rescued by an island of friendly inhabitants.

0:24:250:24:29

This is the great thing about technology.

0:24:310:24:33

You can preview what you're doing.

0:24:330:24:34

This is the camera filming us right now. That's me.

0:24:340:24:37

That's the treasure chest that's just been put down

0:24:370:24:39

but I think it might be too far over on the island.

0:24:390:24:42

-Slide it across a bit more?

-Yeah.

0:24:420:24:45

Girls, about another 30 centimetres that way, I think.

0:24:450:24:48

And then put your hands out so you're just like waving. Perfect.

0:24:520:24:56

I know it feels bizarre but honestly, it looks great.

0:24:560:24:59

It's all coming together nicely.

0:25:010:25:03

..In a circle.

0:25:030:25:05

No seagulls were harmed in the making of this animation.

0:25:050:25:08

Shall we go for one, guys?

0:25:090:25:12

-Swimming?

-Swimming.

0:25:120:25:13

-That's your motivation.

-I'm swimming to the firework party!

0:25:130:25:16

That's it. That's the party that's waiting for you on the island.

0:25:180:25:22

That's where you're swimming to. It looks really good, doesn't it!

0:25:220:25:25

After eight hours of filming, 189 still photographs

0:25:250:25:29

of animated acting by me and some direction from Barney, we're done.

0:25:290:25:34

As they say in show business, that's a wrap! Thank you very much!

0:25:340:25:38

APPLAUSE

0:25:380:25:39

Well done! It looks amazing!

0:25:410:25:43

It's been a long day but hopefully worth all the hard work.

0:25:430:25:47

Jack, there's your popcorn.

0:25:470:25:49

It's time for the screening of our Big Animation.

0:25:490:25:51

Do you want to see it, guys?

0:25:510:25:53

ALL: Yeah!

0:25:530:25:54

Merlin's joined us again for his expert opinion.

0:25:540:25:57

I can't wait, I'm looking forward to seeing this.

0:25:570:25:59

-I'm nervous now you're here.

-Don't be. It'll be great!

0:25:590:26:02

-Helen.

-What?

0:26:020:26:03

Somebody ate all your popcorn.

0:26:030:26:05

-Thanks, Merlin.

-You're welcome.

0:26:050:26:07

Someone press play!

0:26:070:26:08

Here we go. It's time for Blue Peter's Big Animation.

0:26:120:26:15

-HELEN:

-Woohoo! Yeah! Parachuting!

0:26:170:26:19

Oh. Hello. Erm, ooh... What's that?!

0:26:190:26:23

Oh! No!

0:26:230:26:25

SHE SCREAMS

0:26:250:26:26

Oh, hello, what's this? Where did he come from?

0:26:260:26:30

There's an island - quick, I'm getting to it. Hello, guys. You all right?

0:26:300:26:33

Let's have a party! I'm safe! Woohoo!

0:26:330:26:35

APPLAUSE

0:26:380:26:39

Merlin, what did you think?

0:26:390:26:41

I'm really, really impressed with what you've all achieved today.

0:26:410:26:44

The scenes, the props, the character and planning out the story

0:26:440:26:48

has all come together to make a really good film.

0:26:480:26:50

-Yes!

-High-fives!

-You should be really proud.

0:26:500:26:52

-Thanks, team! Good job.

-Yes, thanks, guys.

0:26:520:26:54

If that's inspired you to get animating,

0:26:540:26:57

head over to the Blue Peter website because Merlin has put some top tips

0:26:570:27:00

on there for you on how to get started.

0:27:000:27:02

As always, once you've created your masterpiece,

0:27:020:27:05

send it to us so we can have a look.

0:27:050:27:06

If you haven't got a camera, don't worry about it.

0:27:060:27:08

Ask around at school because somebody else might have one

0:27:080:27:11

and you can get together as a group and create an animation.

0:27:110:27:14

Shall we watch it again?

0:27:140:27:15

-HELEN:

-Woohoo! Yeah! Parachuting!

0:27:200:27:22

Oh. Hello. Erm, ooh... What's that?!

0:27:220:27:26

Oh! No!

0:27:260:27:28

SHE SCREAMS

0:27:280:27:29

Oh, hello, what's this? Where did he come from?

0:27:290:27:33

There's an island - quick, I'm getting to it. Hello, guys. You all right?

0:27:330:27:36

Let's have a party! I'm safe! Woohoo!

0:27:360:27:39

APPLAUSE

0:27:390:27:40

That's it for this week's show.

0:27:410:27:43

Next week we're back in our studio in Salford, where we'll announce

0:27:430:27:46

the shortlist for the Blue Peter Book Awards 2013.

0:27:460:27:49

-Say goodbye, everybody.

-Bye!

-Bye!

0:27:490:27:50

Subtitles by Red Bee Media Ltd

0:27:500:27:53

A special Blue Peter, showing some amazing things you can do with a camera. Helen and Barney make their own animation on an epic scale plus find out how to take trick photographs, see Barney take to the skies to capture a picture of one of our most majestic birds of prey and celebrity photographer Rankin gives tips on taking self-portraits.


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