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Good afternoon and welcome to Points Of View | 0:00:10 | 0:00:13 | |
from the new home of news and current affairs output, | 0:00:13 | 0:00:16 | |
New Broadcasting House. | 0:00:16 | 0:00:18 | |
And, for the past week, | 0:00:18 | 0:00:19 | |
all eyes have been on the US presidential election. | 0:00:19 | 0:00:22 | |
A good thing? | 0:00:22 | 0:00:23 | |
That's a resounding no, then. | 0:01:13 | 0:01:15 | |
But surely the powers that be had good reason | 0:01:15 | 0:01:17 | |
to send so many different faces to cover the polls? | 0:01:17 | 0:01:20 | |
It is a big story. We think really hard about how to cover it | 0:01:20 | 0:01:24 | |
and because we do so much output on television, | 0:01:24 | 0:01:27 | |
television services, radio services and also on the website, | 0:01:27 | 0:01:30 | |
we need to make sure we have a team that can do everything. | 0:01:30 | 0:01:34 | |
And so what we do is combine the really strong | 0:01:34 | 0:01:37 | |
and brilliant team in Washington, in America, | 0:01:37 | 0:01:40 | |
with people that we send from London. | 0:01:40 | 0:01:42 | |
The people that you see in the piece of output that you watch | 0:01:42 | 0:01:45 | |
are actually doing a lot of other things besides. | 0:01:45 | 0:01:48 | |
They may indeed also have been working for radio | 0:01:48 | 0:01:50 | |
or writing for the website. | 0:01:50 | 0:01:52 | |
So we think really, really hard | 0:01:52 | 0:01:53 | |
about the deployment and cost-effectiveness | 0:01:53 | 0:01:57 | |
and making sure all our people share journalism across the platforms. | 0:01:57 | 0:02:00 | |
In fact, we sent fewer people this year than in 2008. | 0:02:00 | 0:02:04 | |
Back at home and if some music fans are to be believed, | 0:02:04 | 0:02:07 | |
an international incident was almost triggered on Strictly | 0:02:07 | 0:02:11 | |
by the audience reaction to a world-renowned opera singer. | 0:02:11 | 0:02:15 | |
I don't think it was your fault, Norman. | 0:02:41 | 0:02:43 | |
APPLAUSE DROWNS OUT SINGING | 0:02:43 | 0:02:46 | |
APPLAUSE DROWNS OUT SINGING | 0:02:53 | 0:02:57 | |
Naturally, the studio audience for Strictly | 0:02:59 | 0:03:02 | |
is more likely to be made up of dance fans than opera fans | 0:03:02 | 0:03:05 | |
but it seems a spot of cross-arts courtesy wouldn't go amiss. | 0:03:05 | 0:03:10 | |
Now, on to the natural world. Miraculous, isn't it? | 0:03:10 | 0:03:13 | |
That appears to be the only word BBC1 can think to apply to it | 0:03:13 | 0:03:16 | |
as they launch two entirely unconnected | 0:03:16 | 0:03:19 | |
but eerily similar-sounding documentaries. | 0:03:19 | 0:03:23 | |
Nature's Miracle Babies and Miracles Of Nature. | 0:03:23 | 0:03:27 | |
First, the babies. | 0:03:27 | 0:03:28 | |
We are here in Australia | 0:03:28 | 0:03:30 | |
but you have Tasmanian devils. Why? Why are they here? | 0:03:30 | 0:03:34 | |
Well, the devils in Tasmania are doing quite badly. | 0:03:34 | 0:03:37 | |
They are suffering from devil facial tumour disease, | 0:03:37 | 0:03:41 | |
which is really spreading quite fast | 0:03:41 | 0:03:43 | |
and has wiped out over 80% of devils down there. | 0:03:43 | 0:03:46 | |
-80% now? -Yes, that is right. | 0:03:46 | 0:03:48 | |
So what we are doing is building up an insurance population. | 0:03:48 | 0:03:51 | |
Should the Tasmanian devil get wiped out in Tasmania, | 0:03:51 | 0:03:54 | |
we will have a population large enough | 0:03:54 | 0:03:56 | |
and diverse enough to hopefully later reintroduce it to Tasmania. | 0:03:56 | 0:04:00 | |
On the other hand, Miracles Of Nature | 0:04:20 | 0:04:23 | |
was presented by petrol-head Richard Hammond, | 0:04:23 | 0:04:26 | |
which put the cat among the pigeons before it even started. | 0:04:26 | 0:04:29 | |
-Oh! -You doing all right? | 0:05:04 | 0:05:07 | |
I am scared, on an Olympic scale. | 0:05:07 | 0:05:09 | |
-All right, have a look up to your left. -Whoa! | 0:05:09 | 0:05:14 | |
There's millions! How did we get in amongst them? | 0:05:14 | 0:05:18 | |
Outdoing Richard Hammond in aerial acrobatics was Felix Baumgartner. | 0:05:18 | 0:05:23 | |
His space dive made headlines in the newsrooms last month | 0:05:23 | 0:05:26 | |
and made an hour-and-a-half-long documentary for BBC2 last week. | 0:05:26 | 0:05:31 | |
SOARING MUSIC PLAYS | 0:05:31 | 0:05:32 | |
And our guardian angel will take care of you. | 0:05:32 | 0:05:35 | |
Alarming, Ashley, spot on! | 0:06:08 | 0:06:10 | |
And how on earth do you film such an endeavour? | 0:06:10 | 0:06:14 | |
Felix's jump, we had to find ways of covering it | 0:06:14 | 0:06:17 | |
from every possible angle | 0:06:17 | 0:06:18 | |
and the most important cameras to us, in some respects, | 0:06:18 | 0:06:22 | |
were the cameras on Felix himself. | 0:06:22 | 0:06:24 | |
We had five cameras on him and it was really important | 0:06:24 | 0:06:27 | |
that we were able to capture the moment | 0:06:27 | 0:06:30 | |
when he passed through the sound barrier on him, | 0:06:30 | 0:06:32 | |
through his point of view. | 0:06:32 | 0:06:34 | |
And those cameras were the cameras that we used to illustrate | 0:06:34 | 0:06:39 | |
just how severe the spin and tumble was. | 0:06:39 | 0:06:43 | |
So just as he was about to pass through the sound barrier, | 0:06:43 | 0:06:46 | |
Felix lost control completely. | 0:06:46 | 0:06:49 | |
You see the sun spinning at an incredible rate. | 0:06:49 | 0:06:51 | |
You see the Earth in his visor spinning at an incredible rate. | 0:06:51 | 0:06:54 | |
And then, when he gets that stability back, | 0:06:54 | 0:06:58 | |
you see that moment where he is tracking, head down again, | 0:06:58 | 0:07:01 | |
the way a skydiver would want to. | 0:07:01 | 0:07:03 | |
And the cameras caught those moments absolutely perfectly. | 0:07:03 | 0:07:07 | |
A legendary achievement and, speaking of legend, | 0:07:07 | 0:07:10 | |
"In a land of myth and a time of magic..." | 0:07:10 | 0:07:13 | |
Merlin is attracting around seven million viewers | 0:07:13 | 0:07:16 | |
into its web of medieval intrigue each week. | 0:07:16 | 0:07:20 | |
EXPLOSION | 0:07:20 | 0:07:23 | |
Arthur! | 0:07:28 | 0:07:29 | |
You can't imagine that when you start a job | 0:07:52 | 0:07:55 | |
and it is this little show about magic down in Wales, | 0:07:55 | 0:07:58 | |
that it would become this phenomenon that it has done. | 0:07:58 | 0:08:00 | |
And five years and over 180 countries later, we are still going. | 0:08:00 | 0:08:05 | |
We are taking the fans who came with us from Series 1 | 0:08:12 | 0:08:16 | |
all the way to series 5. | 0:08:16 | 0:08:17 | |
They have grown up with the series. | 0:08:17 | 0:08:19 | |
It has got tonally more darker, which hopefully will be right. | 0:08:19 | 0:08:22 | |
We do not shy away from, not the bloodshed, | 0:08:22 | 0:08:25 | |
because there is no blood but there are a lot of fight sequences | 0:08:25 | 0:08:28 | |
and it looks amazing. | 0:08:28 | 0:08:30 | |
The main thing about Merlin has always been the story | 0:08:30 | 0:08:32 | |
and then the CGI and all those elements come in to round that out | 0:08:32 | 0:08:36 | |
and give it the extra colour, the tapestry and things like that. | 0:08:36 | 0:08:39 | |
But it is difficult when people look at TV and they expect film. | 0:08:39 | 0:08:43 | |
But I think what has made Merlin so successful | 0:08:43 | 0:08:46 | |
is it does stand up well to that. | 0:08:46 | 0:08:48 | |
The CGI is incredible on this show. It really is. | 0:08:58 | 0:09:01 | |
Every year they get bigger and better | 0:09:01 | 0:09:03 | |
and it makes it really fun for us to watch and see what they have done. | 0:09:03 | 0:09:07 | |
I think it is really impressive, especially for a British show. | 0:09:07 | 0:09:11 | |
The effects are as good as you will see on American TV | 0:09:11 | 0:09:15 | |
and I just think that it is brilliant. | 0:09:15 | 0:09:18 | |
HORSES WHINNY | 0:09:18 | 0:09:20 | |
SNAKES HISS | 0:09:20 | 0:09:22 | |
It is not strictly science-fiction, | 0:09:26 | 0:09:28 | |
although Merlin is now making | 0:09:28 | 0:09:30 | |
as much use of computer-generated images | 0:09:30 | 0:09:32 | |
as the glossiest of Hollywood sci-fi. | 0:09:32 | 0:09:35 | |
But little else on the BBC offers an adult outlet | 0:09:35 | 0:09:38 | |
for fans of science-fiction, according to George Matthews. | 0:09:38 | 0:09:42 | |
Can I please ask why there are no adult science-fiction | 0:09:42 | 0:09:46 | |
programmes on BBC television? | 0:09:46 | 0:09:48 | |
We get lots of cookery, costume dramas and soap operas | 0:09:48 | 0:09:52 | |
but we do not get any adult science-fiction. | 0:09:52 | 0:09:55 | |
Doctor Who is OK but really is just for the children. | 0:09:55 | 0:09:59 | |
Please can we have some adult science-fiction? | 0:09:59 | 0:10:01 | |
There are lots of great stories out there just waiting to be | 0:10:01 | 0:10:05 | |
made into television programmes and films. | 0:10:05 | 0:10:08 | |
Now, strap yourselves in tightly. | 0:10:08 | 0:10:10 | |
How Safe Are Britain's Roads? | 0:10:10 | 0:10:12 | |
has had a far from smooth ride with viewers. | 0:10:12 | 0:10:15 | |
The BBC2 investigation into traffic accidents | 0:10:15 | 0:10:19 | |
nearly caused a few, by all accounts. | 0:10:19 | 0:10:21 | |
We are down to 60 but let us take her up to 70. | 0:10:34 | 0:10:37 | |
It is going to take a while. This is the kind of car that was around. | 0:10:37 | 0:10:40 | |
It is so different from modern cars | 0:10:40 | 0:10:43 | |
and, if I am honest, so much worse. | 0:10:43 | 0:10:46 | |
So, it is not just belt up but eyes front, Justin Rowlatt. | 0:10:56 | 0:11:00 | |
Now, subtitles have proved a valuable addition | 0:11:00 | 0:11:03 | |
to help viewers with hearing issues | 0:11:03 | 0:11:06 | |
get greater enjoyment from TV programmes. | 0:11:06 | 0:11:08 | |
Audio description is a similar service | 0:11:08 | 0:11:11 | |
designed to help those with impaired sight follow proceedings on screen. | 0:11:11 | 0:11:16 | |
If you are finding your television programmes are narrating themselves, | 0:11:27 | 0:11:30 | |
what you have probably done is turned on the audio description service - | 0:11:30 | 0:11:34 | |
a service for the blind and partially-sighted. | 0:11:34 | 0:11:36 | |
Hi, my name is Scott, and basically I am an audio describer. | 0:11:45 | 0:11:48 | |
It is a service primarily for visually impaired and blind people. | 0:11:48 | 0:11:52 | |
When no-one is talking, | 0:11:52 | 0:11:54 | |
we provide a commentary of what is happening on screen | 0:11:54 | 0:11:57 | |
to help them understand and follow the programme. | 0:11:57 | 0:12:00 | |
A young knight with wavy black hair | 0:12:00 | 0:12:03 | |
swings his sword at Arthur in the training ground at Camelot. | 0:12:03 | 0:12:06 | |
Well over 10% of all the programmes | 0:12:06 | 0:12:09 | |
on the main television channels is audio described | 0:12:09 | 0:12:12 | |
and that ranges from prime-time drama | 0:12:12 | 0:12:14 | |
to documentaries, to children's programming. | 0:12:14 | 0:12:17 | |
If this is a service you don't require, | 0:12:17 | 0:12:19 | |
there are a number of websites with information on how to turn off | 0:12:19 | 0:12:22 | |
and on the service, such as the BBC and the RNIB. | 0:12:22 | 0:12:25 | |
If you are still having difficulties, the best thing to do | 0:12:25 | 0:12:29 | |
is either to refer to the instruction manual for your TV or set-top box, | 0:12:29 | 0:12:34 | |
or to speak to your television service provider. | 0:12:34 | 0:12:37 | |
If it is a service you think you might benefit from, | 0:12:37 | 0:12:39 | |
then please do turn us on. | 0:12:39 | 0:12:42 | |
I hope you find it useful and enjoyable. | 0:12:42 | 0:12:46 | |
So, now we know. | 0:12:46 | 0:12:47 | |
Audio description is a valuable service | 0:12:47 | 0:12:49 | |
for large parts of the audience and, | 0:12:49 | 0:12:51 | |
if you accidentally switch yours on and don't want it, | 0:12:51 | 0:12:54 | |
simply switch it off. You have made a mistake. | 0:12:54 | 0:12:57 | |
For once, the programme-makers haven't. | 0:12:57 | 0:12:59 | |
However, I'm sure there are plenty of other things to comment on. | 0:12:59 | 0:13:02 | |
So if you want to, do write to us. | 0:13:02 | 0:13:04 | |
Here is the address: | 0:13:04 | 0:13:08 | |
YOU are also more than welcome to email. The address is: | 0:13:08 | 0:13:13 | |
Or you can jump on to our very lively messageboard which is at: | 0:13:13 | 0:13:19 | |
and you can still phone us, of course. | 0:13:19 | 0:13:21 | |
The number is charged as a local rate call from a landline. | 0:13:21 | 0:13:25 | |
Here it is for you. | 0:13:25 | 0:13:28 | |
Oh, and before we go, a quick apology to our weather friends | 0:13:28 | 0:13:32 | |
after a spot by David McIlwaine last week. | 0:13:32 | 0:13:36 | |
Now, as Brian Hughes and Carolyn Dee have pointed out, | 0:13:36 | 0:13:39 | |
there is indeed a small town called Jacksonville in South Carolina, | 0:13:39 | 0:13:43 | |
as well as one in Florida. | 0:13:43 | 0:13:44 | |
So we end where we started, in those swing states. Goodbye. | 0:13:44 | 0:13:49 | |
Subtitles by Red Bee Media Ltd | 0:13:49 | 0:13:53 |