0:00:30 > 0:00:31ALL: Hello.
0:00:31 > 0:00:35And with her candlelit cake and all of her cards and presents here
0:00:35 > 0:00:38in the studio, Petra really is having a memorable 12th birthday.
0:00:38 > 0:00:41I think she looks in splendid condition,
0:00:41 > 0:00:42considering she's 12 years old now.
0:00:42 > 0:00:44In fact, it's hard to imagine,
0:00:44 > 0:00:47looking at her, that she is such a very old lady,
0:00:47 > 0:00:49and we'd like to say a big thank you to everyone who's sent her
0:00:49 > 0:00:52a card or a present, and you can see we've brought them all
0:00:52 > 0:00:54to the studio today. They make a splendid display here.
0:00:54 > 0:00:56Although she is rather an old lady,
0:00:56 > 0:00:58and she appears to have gone to sleep for the moment,
0:00:58 > 0:01:00she still likes a game.
0:01:00 > 0:01:03Hey, Petra, Petra! I've got a ball for you!
0:01:03 > 0:01:04- Chase it!- Come on!
0:01:04 > 0:01:06Come on, look lively!
0:01:06 > 0:01:08Come on, Petra, chase, come on!
0:01:08 > 0:01:12- It's a handicap race! - I've never seen her move so fast!
0:01:12 > 0:01:14Startling!
0:01:15 > 0:01:17OK, Shep!
0:01:17 > 0:01:21- Shep's gone away now. - She's following the scent.
0:01:21 > 0:01:23Amazing. She's got it. Surprise.
0:01:23 > 0:01:25Well done, girl.
0:01:25 > 0:01:27Who's a clever girl? We'll get you a stretcher.
0:01:27 > 0:01:29Shep's going to end up sharing that ball with her, I think!
0:01:29 > 0:01:31Probably beating her to it most of the time!
0:01:31 > 0:01:35- Hang on, she's going to come all the way round here!- Come on, then!
0:01:35 > 0:01:36Come on, then, girl!
0:01:36 > 0:01:39It's a lap of honour, cos it's her birthday! Well done.
0:01:39 > 0:01:41- Terrific.- Something else that Shep's
0:01:41 > 0:01:44definitely going to end up sharing with Petra is
0:01:44 > 0:01:46a rather magnificent birthday cake.
0:01:46 > 0:01:48It's a special birthday cake for dogs,
0:01:48 > 0:01:51and underneath the savoury icing there,
0:01:51 > 0:01:53there's all their favourite food.
0:01:53 > 0:01:56We'll give them a slice of that in just a moment.
0:01:56 > 0:01:59But first of all, let's take a look at some of her presents,
0:01:59 > 0:02:02cos she's really been very fortunate with her presents.
0:02:02 > 0:02:04She's been sent two rather nice quilts here.
0:02:04 > 0:02:07They've been hand-stitched from bits of various kinds of material.
0:02:07 > 0:02:09Those look rather nice in her basket.
0:02:09 > 0:02:12She's got a vast assortment of biscuits.
0:02:12 > 0:02:15You're having a good rummage there. Things to chew of all kinds.
0:02:15 > 0:02:18I know what you can smell. Someone's sent her some chocolates.
0:02:18 > 0:02:20They're her favourite kind. Do you want some of those? Hey?
0:02:20 > 0:02:22Thought you would. Thought you would.
0:02:22 > 0:02:24And as well as the other chewy things that there are,
0:02:24 > 0:02:26there are quite a lot of bones,
0:02:26 > 0:02:29some just to chew and some that squeak like that,
0:02:29 > 0:02:32which don't seem to interest her all that very much!
0:02:32 > 0:02:34She's been very lucky with all those presents.
0:02:34 > 0:02:36She's also been lucky with her cards.
0:02:36 > 0:02:38She's got hundreds of them. This is a nice and unusual one.
0:02:38 > 0:02:41It says "Snap" on the front of it, and the reason why,
0:02:41 > 0:02:43you'll see when I turn it round.
0:02:43 > 0:02:44It says, "Dear Petra.
0:02:44 > 0:02:47"As we both have our birthday on the same day
0:02:47 > 0:02:49"and we're both going to be 12 on November 4th,
0:02:49 > 0:02:50"I'd like to congratulate us
0:02:50 > 0:02:54"and wish us both a very happy birthday. From Georgette Frank."
0:02:54 > 0:02:56- It's a plural birthday card. - That's right.
0:02:56 > 0:02:59Actually, I've got a beautiful birthday card here.
0:02:59 > 0:03:00It's in the shape of a cake.
0:03:00 > 0:03:03There's 12 candles burning away on the top there,
0:03:03 > 0:03:06and there's the numbers 12 there,
0:03:06 > 0:03:10some rather pretty daisies along the bottom there, and I open it up,
0:03:10 > 0:03:13you'll see, there they are, Petra's name in very bright pink
0:03:13 > 0:03:15and three bright pink hearts along the bottom.
0:03:15 > 0:03:17And there's another rather nice one.
0:03:17 > 0:03:19This is a bit of a fun one, actually,
0:03:19 > 0:03:22Petra around the birthday table there, it says,
0:03:22 > 0:03:27"I'm 12, as you can see, and this cake here's for Shep and me."
0:03:27 > 0:03:31Underneath is Jason saying, "After all the things I've done for her!"
0:03:31 > 0:03:33It's a nice joke, because inside it says,
0:03:33 > 0:03:36"Happy birthday, Petra, you're not that mean."
0:03:36 > 0:03:38She really isn't, she's lovely.
0:03:38 > 0:03:40Here she is in the centre of another unusual card
0:03:40 > 0:03:42with drawings of her eight puppies all the way round there.
0:03:42 > 0:03:45Down at the bottom here, a drawing of poor old Patch,
0:03:45 > 0:03:47who you may remember was with us on the programme
0:03:47 > 0:03:49until he died rather sadly three and a half years ago.
0:03:49 > 0:03:53At the bottom here, it says, "Happy birthday to a grandmother."
0:03:53 > 0:03:56That's not a mistake, because inside the card, there's a picture
0:03:56 > 0:04:00of three of her grandpuppies, Mandy, Brandy and Dandy.
0:04:00 > 0:04:03And here we have Petra in cinemascope.
0:04:03 > 0:04:04Rather a long Petra, this.
0:04:04 > 0:04:07Having a bit of a dream there.
0:04:07 > 0:04:10She's dreaming about, "My birthday, what fun."
0:04:10 > 0:04:13Juicy bones, a new dog bowl, extra food for tea,
0:04:13 > 0:04:16or even birthday cake, which she's got,
0:04:16 > 0:04:18and presents, a nice, cosy basket to sleep in,
0:04:18 > 0:04:20with a new thick, woolly blanket,
0:04:20 > 0:04:22and there will be thousands of cards,
0:04:22 > 0:04:24and right at the end of the dream,
0:04:24 > 0:04:25"With that, I'll have a smashing birthday,
0:04:25 > 0:04:29"and I'll be on television as well."
0:04:29 > 0:04:33Actually, her dreams have come true - she is on the telly and she's received most of those things!
0:04:33 > 0:04:35- Yes.- They really are smashing cards.
0:04:35 > 0:04:38We'll cut the cake in just a moment
0:04:38 > 0:04:41and give both Petra and Shep a nice taste of it.
0:04:41 > 0:04:44But as I said, thank you again for her cards and presents,
0:04:44 > 0:04:48and I think it just goes to show what an extremely popular dog she is.
0:04:48 > 0:04:51Now, I don't know if there's anyone watching now who can remember Petra
0:04:51 > 0:04:53being on Blue Peter for the very first time.
0:04:53 > 0:04:55If there is, they must be at least 15 years old.
0:04:55 > 0:04:58It was on our Christmas programme in 1962.
0:04:58 > 0:05:01Amongst the presents round the tree was a large box
0:05:01 > 0:05:04covered in Christmas paper with a special Blue Peter label.
0:05:12 > 0:05:15Petra soon grew from a ball of wool
0:05:15 > 0:05:18to a floppy, long-legged, gangly puppy.
0:05:23 > 0:05:27We bought a large kennel with a perfectly good front door.
0:05:27 > 0:05:29But Petra soon found the more spectacular way out.
0:05:36 > 0:05:40Petra's always had the knack of making the most unusual friends.
0:05:40 > 0:05:42She and Tom the donkey would play like this for hours.
0:05:49 > 0:05:52But we never let her off the lead in a field of animals she didn't know.
0:05:52 > 0:05:56She was trained never to chase sheep, lambs or cows.
0:06:05 > 0:06:09September 9th, 1965 was a red-letter day in the Blue Peter calendar.
0:06:09 > 0:06:13It was the day Petra presented us with her eight puppies,
0:06:13 > 0:06:15and she herself was nearly three years old.
0:06:16 > 0:06:18And this, believe it or not,
0:06:18 > 0:06:21was poor Patch's first appearance on Blue Peter.
0:06:23 > 0:06:25Petra was a marvellous mother.
0:06:25 > 0:06:29She kept a close eye on all her pups and washed and cleaned them
0:06:29 > 0:06:31every minute of each day.
0:06:36 > 0:06:39It wasn't long before the blind, helpless puppies became
0:06:39 > 0:06:42eight of the fiercest young dogs you've ever seen.
0:06:42 > 0:06:47Besides Patch, there was Rex, Rover, Candy, Prince, Kim, Bruce and Peter.
0:06:51 > 0:06:53One of their favourite games
0:06:53 > 0:06:55was a tug of war with one of Val's old scarves.
0:07:09 > 0:07:11It was Bruce who started the cardboard picnic cup game,
0:07:11 > 0:07:14and in no time, they were all doing it.
0:07:16 > 0:07:20Whenever she can, Petra takes part in all the things we do.
0:07:20 > 0:07:23Like the time when John and I visited Daniel, our Blue Peter baby,
0:07:23 > 0:07:25to build a shed for his donkey.
0:07:25 > 0:07:28Thank you.
0:07:28 > 0:07:30Oh, yeah. Well, we've got a slight hole there,
0:07:30 > 0:07:32and we've also got a slight problem.
0:07:32 > 0:07:35We've got to get... Petra.
0:07:35 > 0:07:37Here we are. Hit the nail.
0:07:37 > 0:07:39Hit it.
0:07:39 > 0:07:41Woh!
0:07:41 > 0:07:42You hit the wrong nail there, mate.
0:07:44 > 0:07:45Yes.
0:07:45 > 0:07:49'Peter seemed to be getting on much faster than the two of us.'
0:07:49 > 0:07:51Very good.
0:07:51 > 0:07:53Hey, look - it's standing up all by itself.
0:07:53 > 0:07:56Are you finished work?
0:07:56 > 0:07:58Suppose you want your wages?
0:07:58 > 0:07:59Here are your wages.
0:07:59 > 0:08:02You haven't done any overtime yet, mate.
0:08:02 > 0:08:03Your nail's come out again.
0:08:03 > 0:08:07'As soon as I got out the jelly babies, Petra appeared from nowhere.
0:08:07 > 0:08:10'But she was unlucky. Daniel wasn't giving this one away.'
0:08:10 > 0:08:12One of the proudest moments in Petra's life
0:08:12 > 0:08:14was when she was eight years old,
0:08:14 > 0:08:16and was asked to sit for a famous sculptor.
0:08:16 > 0:08:20Tim, who draws the Bengo and Bleep & Booster pictures,
0:08:20 > 0:08:23wanted to make a bronze statue of her.
0:08:23 > 0:08:27Petra's head was the first part Tim was going to model.
0:08:27 > 0:08:30'He set about it using strips of plasticine,
0:08:30 > 0:08:34'which he'd warmed up, so it was nice and soft, and easy to shape.'
0:08:34 > 0:08:37Let's establish the exact length. She's got a rather long...
0:08:37 > 0:08:40She has a long snout, and it's fairly thin, too.
0:08:40 > 0:08:43Foxy. Yes. Establish the ear.
0:08:43 > 0:08:46That's about the height of the ear.
0:08:46 > 0:08:48Can I just have a look? yes.
0:08:48 > 0:08:50I think she'll probably sit here now, Tim.
0:08:50 > 0:08:52Get your ears up, and your head up.
0:08:52 > 0:08:54Now, stay! Good girl.
0:08:54 > 0:08:56'I thought I might be in the way,
0:08:56 > 0:08:59'so I got Petra to sit and stay, and hoped she wouldn't get bored.
0:08:59 > 0:09:02'It was going to be a long job,
0:09:02 > 0:09:04'so I settled down to watch Tim at work.'
0:09:46 > 0:09:49The finished statue was a splendid likeness,
0:09:49 > 0:09:51and today, on her 12th birthday,
0:09:51 > 0:09:55Petra still looks as bright and alert as she did four years ago,
0:09:55 > 0:09:56when the statue was made.
0:09:56 > 0:09:59Petra, come on and be bright and alert, whilst I give you your cake.
0:09:59 > 0:10:00Look. There you are.
0:10:00 > 0:10:02Are you going to be alert?
0:10:02 > 0:10:04She's very sleepy this afternoon.
0:10:04 > 0:10:07Before anyone complains we're over-feeding our dogs
0:10:07 > 0:10:10and making rather fancy food for them,
0:10:10 > 0:10:12this is all made from lunchtime scraps.
0:10:12 > 0:10:13It is food that they like.
0:10:13 > 0:10:16There's a few little bits of chicken off the bone there.
0:10:16 > 0:10:18Nice.
0:10:18 > 0:10:20Happy dogs.
0:10:20 > 0:10:22One of the things we'll definitely do tomorrow
0:10:22 > 0:10:25is make sure that Petra, Shep and Jason
0:10:25 > 0:10:27are well out of the way,
0:10:27 > 0:10:29safe inside - indoors - for Guy Fawkes Day.
0:10:29 > 0:10:31Like many animals, one thing they aren't too fond of
0:10:31 > 0:10:34are loud bangs and explosions.
0:10:34 > 0:10:37Yes, and if you want to enjoy November 5th,
0:10:37 > 0:10:39one of the best ways is to go along to a big, organised display,
0:10:39 > 0:10:42where there's no danger of getting hurt.
0:10:42 > 0:10:45There'll be firework displays and bonfires all over Britain tomorrow.
0:10:45 > 0:10:47Thanks, Shep(!)
0:10:47 > 0:10:49But the village of Great Torrington in Devon
0:10:49 > 0:10:51had its bonfire last Saturday.
0:10:51 > 0:10:53A most unusual one it was, and I went along
0:10:53 > 0:10:56to lend a hand out with the preparations.
0:10:56 > 0:10:59'Torrington's bonfire is always special.
0:10:59 > 0:11:01'This year, the bonfire committee decided
0:11:01 > 0:11:02'to build a huge Viking ship.'
0:11:02 > 0:11:05It reminded me of the Shetlands' Up Helly Aa festival.
0:11:05 > 0:11:08Only this boat was about four times bigger.
0:11:08 > 0:11:11Just about everyone in Torrington brings something
0:11:11 > 0:11:14to make sure there's a good blaze.
0:11:14 > 0:11:18'The man in charge of it was Larry Alexander.'
0:11:18 > 0:11:20I should think everybody gets rid of their rubbish
0:11:20 > 0:11:22on this, don't they?
0:11:22 > 0:11:23Everything bar the kitchen sink, I think.
0:11:23 > 0:11:25In fact, I think we've had two sinks.
0:11:25 > 0:11:27Is this a record this year?
0:11:27 > 0:11:29For length, I should imagine so. It's 150 foot long.
0:11:29 > 0:11:30Is it really?
0:11:30 > 0:11:33Let's go round and have a look at the back, shall we?
0:11:33 > 0:11:35'The ship was one-sided.'
0:11:35 > 0:11:37Round the back, it was a mess.
0:11:37 > 0:11:41A huge timber framework, packed solid with rubbish.
0:11:41 > 0:11:43Ladders led up to a sort of deck,
0:11:43 > 0:11:46where more helpers were working on the mast that towered 85 feet
0:11:46 > 0:11:48up in the air.
0:11:48 > 0:11:50There was a traditional dragon figurehead,
0:11:50 > 0:11:52and, like all Viking ships,
0:11:52 > 0:11:56rows of shields lined the sides.
0:11:57 > 0:12:00The ship wasn't going anywhere, except up in smoke,
0:12:00 > 0:12:01'but even so,
0:12:01 > 0:12:04'it had an enormous sail.'
0:12:04 > 0:12:07The wind's getting up, Larry.
0:12:07 > 0:12:09It's about force five now.
0:12:11 > 0:12:12Hold it!
0:12:12 > 0:12:14Hold it.
0:12:14 > 0:12:15Hey!
0:12:17 > 0:12:19There she goes!
0:12:19 > 0:12:23Hang on, the sail's not down properly, that side.
0:12:23 > 0:12:26The bonfire was due to be lit at eight o'clock,
0:12:26 > 0:12:29and, with nine hours to go,
0:12:29 > 0:12:31cooking had already started on an ox,
0:12:31 > 0:12:32'to feed the hundreds of spectators.'
0:12:32 > 0:12:35I reckon that was a morning's work, was that.
0:12:35 > 0:12:38But there's something I can't put my finger on. I've just realised
0:12:38 > 0:12:42everybody in the village seems to have beards. Why is this, Dave?
0:12:42 > 0:12:45That's for a very unusual event we will put on this afternoon.
0:12:45 > 0:12:471,100 years ago,
0:12:47 > 0:12:50the Vikings invaded at this very spot, led by their king, Hubba.
0:12:50 > 0:12:52Today, the battle was to be fought again,
0:12:52 > 0:12:56and this time, the Vikings were going to be led by me.
0:12:56 > 0:12:59Time to get a bit of blood around them this afternoon.
0:12:59 > 0:13:01There's no two ways about it.
0:13:01 > 0:13:03It's not real blood, is it?
0:13:03 > 0:13:05Yeah, it will be.
0:13:05 > 0:13:07I can take tomato ketchup, but not blood.
0:13:10 > 0:13:12I feel like Ena Sharples.
0:13:12 > 0:13:14Right, my bonnet.
0:13:14 > 0:13:16WOLF WHISTLE
0:13:16 > 0:13:17Thank you.
0:13:17 > 0:13:19How's that - do I look fierce?
0:13:19 > 0:13:21Right, then. Off to battle!
0:13:22 > 0:13:24Right, lads. Kill them!
0:13:26 > 0:13:28'As one man, the Vikings of Torrington
0:13:28 > 0:13:31'brandished their wooden swords and rubber axes,
0:13:31 > 0:13:33'and set about the Saxons from nearby Appledore.
0:14:21 > 0:14:23I'd just started to enjoy the fight,
0:14:23 > 0:14:27but unfortunately, as the real King Hubba died in battle,
0:14:27 > 0:14:29I had to fall at the right moment,
0:14:29 > 0:14:31and stay down.
0:14:34 > 0:14:38Legend has it that the dead King Hubba was taken by boat up-river,
0:14:38 > 0:14:40to be given a magnificent Viking funeral,
0:14:40 > 0:14:43so my acting part was far from over.
0:14:43 > 0:14:45CHEERING
0:14:47 > 0:14:50After the boat, I was to be put on a cart
0:14:50 > 0:14:52and bumped through the streets
0:14:52 > 0:14:54and back to the Torrington funeral ship.
0:15:34 > 0:15:35Acting dead was getting a bit boring,
0:15:35 > 0:15:39so I was pleased when a kind Saxon lady slipped me a sweet.
0:15:51 > 0:15:55Back in the olden days, dead Viking kings were put on their ships,
0:15:55 > 0:15:58which were then set on fire, and pushed out to sea.
0:15:58 > 0:16:01'Everything had been very realistic so far,
0:16:01 > 0:16:05'and it was quite a relief when I was allowed to get off the cart.'
0:16:05 > 0:16:08- We have to get this effigy up as quick as we can, John.- Right.
0:16:08 > 0:16:09If you come over here a minute..
0:16:09 > 0:16:12'In my place, a stuffed dummy was hauled on board the funeral ship.'
0:16:12 > 0:16:15'It wasn't a good likeness,
0:16:15 > 0:16:17'but rather him than me.'
0:16:19 > 0:16:21CHEERING
0:16:22 > 0:16:25Can you take my wig off?
0:16:25 > 0:16:28Pull my whiskers.
0:16:28 > 0:16:31Just pull.
0:16:32 > 0:16:35I look very scruffy, as usual, but not to worry.
0:16:35 > 0:16:37There's the fireworks.
0:16:37 > 0:16:40OK? Are we ready to light the fire?
0:16:40 > 0:16:43- Time to light the fire.- Stand by!
0:17:01 > 0:17:03- I think we're going to have to move back.- Yes.
0:17:03 > 0:17:05Back!
0:17:13 > 0:17:15It was a great day for everyone.
0:17:15 > 0:17:18The battle and the blaze, between them, had raised over £400
0:17:18 > 0:17:21for Christmas parcels.
0:17:21 > 0:17:24So, thanks to King Hubba, Larry, and all his helpers,
0:17:24 > 0:17:27the old people of Torrington will have a very happy Christmas.
0:17:32 > 0:17:35A profitable and enjoyable day for all concerned, I would say.
0:17:35 > 0:17:38I reckon that fire will burn for a few more days yet.
0:17:38 > 0:17:40I'm sure it will. There's will be a lot of fires tomorrow night.
0:17:40 > 0:17:43If there's no big bonfire or firework display
0:17:43 > 0:17:44near where you live,
0:17:44 > 0:17:47and you're going to have a smaller one on your own,
0:17:47 > 0:17:49be very careful with your fireworks.
0:17:49 > 0:17:52Simple things to remember - keep them in a box with a lid,
0:17:52 > 0:17:54and keep the box well away from the fire.
0:17:54 > 0:17:57Don't light more than one firework at once.
0:17:57 > 0:17:59Please don't carry them around in your pockets,
0:17:59 > 0:18:01and don't throw them around.
0:18:01 > 0:18:04Last year, there were 1,200 accidents on Bonfire Night,
0:18:04 > 0:18:07so it's worth taking extra care
0:18:07 > 0:18:09to make sure nothing happens to you.
0:18:09 > 0:18:12Or to your pets, so make sure you look after them.
0:18:12 > 0:18:14Now, over to Lesley.
0:18:14 > 0:18:17We said on Thursday that today we'd be showing you
0:18:17 > 0:18:19exactly what goes on behind the scenes
0:18:19 > 0:18:21here at the BBC Television Centre.
0:18:21 > 0:18:24To do that, we thought we'd show you the BBC's biggest studio.
0:18:24 > 0:18:26It's Studio One.
0:18:26 > 0:18:29It's so enormous that I feel pretty small standing here.
0:18:29 > 0:18:31Of course, I'm not alone.
0:18:31 > 0:18:33Apart from John, Peter and myself,
0:18:33 > 0:18:36there are an awful lot of other people who work here, too.
0:18:36 > 0:18:39If I added up all the electricians, cameramen, engineers,
0:18:39 > 0:18:41floor assistants, and make up girls,
0:18:41 > 0:18:44there would be well over 50 people, all working,
0:18:44 > 0:18:46helping to get Blue Peter on the air.
0:18:46 > 0:18:48The measurements of Studio One
0:18:48 > 0:18:51sound like something out of Roy Castle's Record Breakers.
0:18:51 > 0:18:55For a start, there's 990 metres of working floor space.
0:18:55 > 0:18:58Two of the walls measure 33 metres long.
0:18:58 > 0:19:01The other two measure 30 metres long.
0:19:01 > 0:19:03If they're putting a play on here in the studio,
0:19:03 > 0:19:05and they have to get scenery in and out,
0:19:05 > 0:19:08then there's a huge pair of doors.
0:19:08 > 0:19:11When they're open they provide a space which is 5.5 metres high,
0:19:11 > 0:19:14and four and a quarter metres wide.
0:19:14 > 0:19:17Big enough, in fact, to drive a double-decker bus through.
0:19:17 > 0:19:19When the scenery gets in here,
0:19:19 > 0:19:21it's then slung by wires up to the roof.
0:19:21 > 0:19:22Well, not really onto the roof,
0:19:22 > 0:19:24but electric motors, called hoists.
0:19:24 > 0:19:26All the lamps are on hoists, too.
0:19:26 > 0:19:30Over 500 of them can be raised or lowered at the press of a button.
0:19:30 > 0:19:32But the lamps aren't controlled down here.
0:19:32 > 0:19:35They're operated from upstairs, in a control room.
0:19:35 > 0:19:38Pete's there now, on the other side of that glass panel.
0:19:38 > 0:19:41This is the lighting control room.
0:19:41 > 0:19:43From here, Lance, who's the lighting supervisor,
0:19:43 > 0:19:46is able to control all the lamps you've seen out there in the studio.
0:19:46 > 0:19:49For instance, if I want to fade down the lights on the background
0:19:49 > 0:19:52of the Blue Peter set,
0:19:52 > 0:19:55all I have to do is press one of the buttons on this panel, here.
0:19:55 > 0:19:56This is a mini computer,
0:19:56 > 0:19:59and it's able to remember a whole selection, or group,
0:19:59 > 0:20:01of lamp settings
0:20:01 > 0:20:05So, if I want to fade them down, I'll press this button.
0:20:05 > 0:20:08Out there in the studio, the lights fade right the way down.
0:20:08 > 0:20:10And then, to bring them back again,
0:20:10 > 0:20:13all I have to do is press this one, and they come straight up again.
0:20:13 > 0:20:15I was able to see what was happening there
0:20:15 > 0:20:18by looking out through a window here, out into the studio,
0:20:18 > 0:20:21from which Lance can see everything that happens in the studio
0:20:21 > 0:20:23at any time during a programme.
0:20:23 > 0:20:26In Studio One, we can use five cameras.
0:20:26 > 0:20:29Some are on pedestals, and are pushed around by the cameramen,
0:20:29 > 0:20:31like camera four, for instance.
0:20:31 > 0:20:33Actually, it's quite a skill to push the camera around
0:20:33 > 0:20:35and get a good picture at the same time.
0:20:35 > 0:20:37Some of them are on a camera crane like this one.
0:20:37 > 0:20:42And this is one of the largest camera cranes used by the BBC.
0:20:42 > 0:20:43It's called a Sam Master
0:20:43 > 0:20:45and it's used not just for indoor camerawork,
0:20:45 > 0:20:48with television cameras on the front like this,
0:20:48 > 0:20:49but for outdoor filming as well.
0:20:49 > 0:20:52It's got this huge great lorry,
0:20:52 > 0:20:55which you'd think might be rather noisy to work inside the studio,
0:20:55 > 0:20:57but in fact, when it's in the studio
0:20:57 > 0:20:59it can be worked off electric motors.
0:20:59 > 0:21:02Now, on the business end of this long boom is myself,
0:21:02 > 0:21:04who's being the cameraman, this camera,
0:21:04 > 0:21:07and I've got my assistant Dave, who's also a cameraman.
0:21:07 > 0:21:10But Dave's job is to turn the little wheel round there,
0:21:10 > 0:21:11so Dave, if you can turn it.
0:21:11 > 0:21:15You'll see now that the whole camera and myself swing round
0:21:15 > 0:21:18so I can find any shot that I want.
0:21:18 > 0:21:21OK, Dave, if we go all the way back.
0:21:21 > 0:21:24Well, it needs four people to raise this boom
0:21:24 > 0:21:28to a fantastic height of over seven metres, so, OK, fellas!
0:21:28 > 0:21:29Two sort of push up
0:21:29 > 0:21:34and then the back two get hold of it at the back and pull down...a-ah!
0:21:34 > 0:21:36I went quite high.
0:21:36 > 0:21:40Now if I spin the camera around, or Dave turns us round,
0:21:40 > 0:21:41I then zoom out.
0:21:41 > 0:21:45You will now see what a fantastic shot I get.
0:21:45 > 0:21:48OK, fellas! Can you let us down again?
0:21:48 > 0:21:52And, there again, it takes really two to get us down.
0:21:52 > 0:21:54OK, Dave, if we could swing round.
0:21:54 > 0:21:56You'll notice too that we're wearing crash hats,
0:21:56 > 0:22:00and this is just in case any of those lights up there
0:22:00 > 0:22:02are a little too low and we go a bit too high
0:22:02 > 0:22:06and there's a rather sudden contact between our heads.
0:22:06 > 0:22:08We're also strapped in, so if anything does go wrong,
0:22:08 > 0:22:10we can't actually fall out of the seat.
0:22:10 > 0:22:12Let's go up again, can we, fellas?
0:22:12 > 0:22:14Sorry for all the hard work.
0:22:14 > 0:22:18But each camera in the studio,
0:22:18 > 0:22:22its picture is shown on a little television screen
0:22:22 > 0:22:27in the control room, which is inside there.
0:22:27 > 0:22:29Well, here in the main control room,
0:22:29 > 0:22:32you've got a whole bank of television sets across the bottom.
0:22:32 > 0:22:35Now these are showing the pictures that are being given out
0:22:35 > 0:22:38by each of the five cameras here in the studio.
0:22:38 > 0:22:41Above them, you'll see there are three more sets,
0:22:41 > 0:22:42and this one here in the centre
0:22:42 > 0:22:45is what we call the transmission monitor, that's the one
0:22:45 > 0:22:47that's showing the picture that you're seeing at home.
0:22:47 > 0:22:50Whatever we see on there, that's what you're seeing at home.
0:22:50 > 0:22:54If you're lucky enough to be watching Blue Peter today in colour,
0:22:54 > 0:22:56then you'll have noticed that only this one
0:22:56 > 0:22:59and this one are actually colour sets.
0:22:59 > 0:23:01The others are giving out pictures in black and white,
0:23:01 > 0:23:04and that's because these two monitors here are really
0:23:04 > 0:23:08precision-made instruments to give a perfect colour picture.
0:23:08 > 0:23:09They're very expensive,
0:23:09 > 0:23:12far more expensive than ordinary domestic colour television sets,
0:23:12 > 0:23:15so the BBC make do with just two here in the gallery.
0:23:15 > 0:23:17But because all the cameras are giving out
0:23:17 > 0:23:19different pictures at the same time,
0:23:19 > 0:23:21there has to be someone here in the gallery
0:23:21 > 0:23:23who decides which picture you're going to see
0:23:23 > 0:23:25and when to change from one picture to the other.
0:23:25 > 0:23:28The person who does that is the studio director, Ian,
0:23:28 > 0:23:30and he's sitting here.
0:23:30 > 0:23:33Now he's talking all the time to the cameras as the show is in progress.
0:23:33 > 0:23:35He talks to them through this microphone here,
0:23:35 > 0:23:38and the cameramen hear him through their earphones.
0:23:38 > 0:23:41Sitting next to him is the vision mixer, Shirley,
0:23:41 > 0:23:44and she actually controls, with this panel,
0:23:44 > 0:23:46the pictures that you see at home.
0:23:46 > 0:23:48And she just, in fact, cut to camera two,
0:23:48 > 0:23:50which is that one that I'm speaking at now.
0:23:50 > 0:23:53If you look behind me on the bank of monitors there, you can see,
0:23:53 > 0:23:58on camera five, there's a picture of Lesley with Petra, Jason and Shep.
0:23:58 > 0:24:00She's waiting for me to finish up here.
0:24:00 > 0:24:02Well, I'm not going to yet, but what I am going to do
0:24:02 > 0:24:04is press camera five's button, and there at home you've got
0:24:04 > 0:24:06a picture of Lesley in the studio.
0:24:06 > 0:24:08It's quite simple. Then by pressing button number two,
0:24:08 > 0:24:12I can get the picture of the panel back here again.
0:24:12 > 0:24:13Now in front of those buttons,
0:24:13 > 0:24:16you'll see there are some sliding devices here.
0:24:16 > 0:24:19These are called faders, and it's self-explanatory, really,
0:24:19 > 0:24:21what they do, because by moving them like this,
0:24:21 > 0:24:23you'll see that Lesley's picture fades up
0:24:23 > 0:24:25and the picture of the faders disappears,
0:24:25 > 0:24:29and although you'd much rather carry on looking at Lesley, I'm sure,
0:24:29 > 0:24:32I'm going to bring the faders back like that.
0:24:32 > 0:24:33And that, again, is on camera two.
0:24:33 > 0:24:36But in fact, I don't wish to look at camera two anymore.
0:24:36 > 0:24:38I'd rather talk to camera three, which is over here,
0:24:38 > 0:24:42so press the right button, and up comes camera three's shot.
0:24:42 > 0:24:45Now over here, on this wall of the control gallery,
0:24:45 > 0:24:48there is yet another control room through that glass panel.
0:24:48 > 0:24:51That is the sound control room, and Dave, the sound mixer
0:24:51 > 0:24:54is sitting there in front of a whole other bank of faders,
0:24:54 > 0:24:56but these faders are nothing to do with the picture.
0:24:56 > 0:24:58These are to do with the sound that comes up
0:24:58 > 0:25:01- from the microphones in the studio.- Cue Lesley.
0:25:01 > 0:25:05And the sound is picked up by these microphone booms.
0:25:05 > 0:25:08These follow John, Pete and I around in the studio,
0:25:08 > 0:25:10wherever we happen to go.
0:25:10 > 0:25:13Well, normally, they're set a lot higher above our heads than this
0:25:13 > 0:25:17so they don't creep into your picture that you're getting at home,
0:25:17 > 0:25:20and because of that, John, Pete and I have to speak in quite loud voices.
0:25:20 > 0:25:22Well, so that we know exactly when we're on the air,
0:25:22 > 0:25:25in other words, when you can see us on your television sets at home,
0:25:25 > 0:25:29we've got Claire, our floor manager, who gives us various signals
0:25:29 > 0:25:32by waving her arms around to tell us when to stop, when to start.
0:25:32 > 0:25:35And she gets those signals from the studio director,
0:25:35 > 0:25:38and she can hear what he's saying in that earphone there.
0:25:38 > 0:25:40And you see her waving her arms around,
0:25:40 > 0:25:42that means we're out of time now.
0:25:42 > 0:25:4525 minutes is just about up and it's time to round up the programme.
0:25:45 > 0:25:48Well, we'll be back on Thursday, and I shall be showing you
0:25:48 > 0:25:51how to make the furniture to go in the doll's bedroom.
0:25:51 > 0:25:54And one of Britain's top footballers will be here in the studio
0:25:54 > 0:25:56with some special tips.
0:25:56 > 0:25:58But before then, tomorrow, Bonfire Night,
0:25:58 > 0:26:00do be careful with your fireworks.
0:26:00 > 0:26:03If you've got any pets, keep them well indoors out of harm's way.
0:26:03 > 0:26:06- So we'll see you on Thursday. - Goodbye.- Bye-bye.- Bye-bye.
0:26:09 > 0:26:12Subtitles by Red Bee Media Ltd