0:00:10 > 0:00:12Good afternoon and welcome to Points Of View,
0:00:12 > 0:00:15where we will be bringing you the good, the bad
0:00:15 > 0:00:17and the not very pleasant at all.
0:00:17 > 0:00:22So let us indulge ourselves with the good first. General sigh of relief.
0:00:22 > 0:00:23The Royal outside broadcast team,
0:00:23 > 0:00:27the ones sitting in detention since the Jubilee river pageant,
0:00:27 > 0:00:31have been given a gold star for Trooping The Colour Highlights.
0:00:35 > 0:00:38Duke of Edinburgh salutes them as they go by.
0:00:38 > 0:00:40Each gun is pulled by six horses.
0:00:40 > 0:00:41The three on the near side are ridden
0:00:41 > 0:00:45and three on the offside are held in hand
0:00:45 > 0:00:48by the nearside jockey, who's known as the driver.
0:01:10 > 0:01:13Horses, boats, but above all, the facts.
0:01:13 > 0:01:16That is what you want, it seems, just the facts.
0:01:16 > 0:01:19A fact that might finally be getting through.
0:01:19 > 0:01:20Now, more of the good
0:01:20 > 0:01:24in the form of one of the other supposed jewels in the BBC crown,
0:01:24 > 0:01:26natural history.
0:01:26 > 0:01:28Apparently, Secrets Of Our Living Planet
0:01:28 > 0:01:31is stabilising the reputation that juddered a bit
0:01:31 > 0:01:34when the BBC put out Planet Earth Live.
0:01:34 > 0:01:36After all, you're covered with pests,
0:01:36 > 0:01:40all of which want to gobble up those seeds
0:01:40 > 0:01:43or snap up any tasty germinating seedling.
0:01:43 > 0:01:47Your only chance is to get your seeds as far away from yourself
0:01:47 > 0:01:50and those pests as possible.
0:01:50 > 0:01:52Question is, how do you do it?
0:02:47 > 0:02:49Experts, experts.
0:02:49 > 0:02:51It is coming through loud and clear,
0:02:51 > 0:02:54but are the programme makers receiving you?
0:02:54 > 0:02:56Now, those were the out-and-out good programmes.
0:02:56 > 0:03:00Are we now drifting towards the bad category? Let's see.
0:03:00 > 0:03:04True Love has been an experimental drama from BBC One,
0:03:04 > 0:03:05which the commissioner claimed
0:03:05 > 0:03:08features some of our very best acting talent,
0:03:08 > 0:03:11using improvisation to push the boundaries of each story.
0:03:11 > 0:03:14That is what he said. Is that what it did?
0:03:14 > 0:03:16It's OK.
0:03:18 > 0:03:20It's OK.
0:03:25 > 0:03:27I know you.
0:03:29 > 0:03:32I love you.
0:03:32 > 0:03:34So it's OK.
0:03:37 > 0:03:39I love you so much.
0:04:18 > 0:04:21Score? A 2-2 draw, shall we say?
0:04:21 > 0:04:24Sorry, we've got football creeping in everywhere.
0:04:24 > 0:04:27And a very different aspect of one of the football host nations,
0:04:27 > 0:04:31the Ukraine, was drawn to our attention by BBC Four this week.
0:04:31 > 0:04:34Panorama told us about racism a fortnight ago.
0:04:34 > 0:04:38This documentary was Ukraine's Forgotten Children,
0:04:38 > 0:04:41and it had a profound effect on those who saw it.
0:04:51 > 0:04:54Can you imagine being one of these children?
0:04:54 > 0:04:59Can you imagine being him, just there all day,
0:04:59 > 0:05:02every day, for maybe 20 years?
0:05:33 > 0:05:37Now, what angle do you take on camera angles?
0:05:37 > 0:05:39We just can't seem to work out what we think of shows
0:05:39 > 0:05:40where the camera person is crashing
0:05:40 > 0:05:44and zooming their way around the place like a bull in a china shop.
0:05:44 > 0:05:47You may not like it, but programme makers still use the technique
0:05:47 > 0:05:50because it conveys excitement, or so they say.
0:05:50 > 0:05:54Well, the cameras convey excitement - you are conveying confusion,
0:05:54 > 0:05:56and not a little annoyance.
0:05:56 > 0:05:58What do the Queen,
0:05:58 > 0:06:02chickens and some dusty antiques have in common?
0:06:02 > 0:06:07It's that long-reigning problem of chopping and changing camera angles.
0:06:31 > 0:06:35# I love you too much to let go
0:06:35 > 0:06:40# How do you think I feel when you call my name... #
0:06:41 > 0:06:45And Diane is another viewer left in a spin.
0:06:45 > 0:06:50I get so irritated about the frequency of camera angle changes
0:06:50 > 0:06:51on BBC programmes.
0:06:51 > 0:06:54I just get interested in one detail on the screen,
0:06:54 > 0:06:58and the camera veers off or pans on to something else.
0:06:58 > 0:07:01I feel that it doesn't stay focused long enough on one thing
0:07:01 > 0:07:03for the viewer to take it all in.
0:07:03 > 0:07:06I feel we miss out on a lot of the action.
0:07:06 > 0:07:10This is especially noticeable in live shows,
0:07:10 > 0:07:12like The Voice of the Queen's Jubilee concert.
0:07:12 > 0:07:14In just one randomly chosen minute,
0:07:14 > 0:07:18I counted 36 changes of camera angle,
0:07:18 > 0:07:20and most of these were on the move.
0:07:20 > 0:07:23The constant swinging and swaying, zooming in and out,
0:07:23 > 0:07:27makes it really difficult for the viewer to appreciate
0:07:27 > 0:07:31the dancing and the costumes, which is what we all want to see.
0:07:31 > 0:07:35I appreciate that camera technology can do wonderful things these days,
0:07:35 > 0:07:38but we viewers just can't keep up with the pace.
0:07:38 > 0:07:43I want to shout, "Hold still a minute, I was trying to watch that!"
0:07:43 > 0:07:45Whilst we're feeling slightly nauseous,
0:07:45 > 0:07:48and I did promise the good, the bad and the rest earlier,
0:07:48 > 0:07:51here is something pretty revolting. Steel yourself.
0:07:51 > 0:07:54BBC Two's documentary The Men Who Made Us Fat
0:07:54 > 0:07:57has been lifting the lid - you see what I did there? -
0:07:57 > 0:08:00on the processed food we eat so much of,
0:08:00 > 0:08:03and it has not made for appetising viewing.
0:08:03 > 0:08:06You're interested in the effect that this load of sugar
0:08:06 > 0:08:09has on the body and the liver in particular.
0:08:09 > 0:08:13Exactly, and I like to describe that as a tsunami.
0:08:13 > 0:08:18You have this huge load of sugar going to the liver,
0:08:18 > 0:08:25and that's the impact not only on fat in the blood
0:08:25 > 0:08:27that may lead to cardiovascular disease.
0:08:48 > 0:08:51So, food manufacturers are now strictly policed
0:08:51 > 0:08:52to protect the nation's health.
0:08:52 > 0:08:54And TV programmes are under inspection, too,
0:08:54 > 0:08:58for the impact they can have on health. Take flash photography.
0:08:58 > 0:09:01Goodness knows how many working hours have been amassed
0:09:01 > 0:09:05warning us that this or that programme may contain flashes,
0:09:05 > 0:09:06news programmes especially.
0:09:06 > 0:09:07And not surprisingly,
0:09:07 > 0:09:11people wonder, are such warnings going to be necessary for ever?
0:09:11 > 0:09:17What exactly is the problem here and what does the BBC do to resolve it?
0:09:33 > 0:09:35The BBC and other UK broadcasters
0:09:35 > 0:09:38take the issue of photosensitive epilepsy very seriously,
0:09:38 > 0:09:41and in line with the Ofcom broadcasting code
0:09:41 > 0:09:43take a significant number of steps
0:09:43 > 0:09:45to ensure they're in line with guidelines.
0:09:45 > 0:09:48As part of technical checks, all pre-recorded programmes
0:09:48 > 0:09:52are passed through an Ofcom-approved industry standard device, a Harding,
0:09:52 > 0:09:55which identifies material that might cause a risk.
0:09:55 > 0:09:57Three main visual effects can cause seizures.
0:09:57 > 0:10:01These are flashing, and that is moving between light and dark,
0:10:01 > 0:10:03bright reds and movement between bright reds,
0:10:03 > 0:10:05and also what we call spatial patterning,
0:10:05 > 0:10:08so patterns on the screen that move between light and dark.
0:10:08 > 0:10:13The analyser gives a pass, a fail or a caution indication
0:10:13 > 0:10:14along with a picture
0:10:14 > 0:10:17that allows us to identify the sequences which are at risk.
0:10:17 > 0:10:21These sequences are then repaired or removed from the programme.
0:10:21 > 0:10:24If a sequence is integral to the editorial content of the programme,
0:10:24 > 0:10:26subject to additional sign-off,
0:10:26 > 0:10:29a verbal and sometimes also an on-screen warning will be made.
0:10:29 > 0:10:32Now, from flashing lights to flashy modern art,
0:10:32 > 0:10:34and whether we like or need it.
0:10:34 > 0:10:37The Culture Show this week took a look at the Orbit monument,
0:10:37 > 0:10:39newly erected in London.
0:10:39 > 0:10:43Orbit will stand 115 metres tall,
0:10:43 > 0:10:46and will weigh in at more than 1,400 tonnes.
0:10:46 > 0:10:51The total cost is estimated to be in excess of £20 million.
0:10:51 > 0:10:55But will it be art, or just a really weird building?
0:11:22 > 0:11:26Let's move seamlessly from sculpture to music, and it would appear that
0:11:26 > 0:11:29two programmes from very different ends of the TV spectrum
0:11:29 > 0:11:34are sporting theme tunes that bear a striking resemblance to one another.
0:11:55 > 0:11:58Oh, Alice, I love these. Let us take a listen.
0:11:58 > 0:12:00MUSIC PLAYS
0:12:00 > 0:12:03SIMILARSOUNDING MUSIC PLAYS
0:12:03 > 0:12:06OLYMPIC TORCH ADVERT MUSIC PLAYS AGAIN
0:12:06 > 0:12:08TREE FU TOM THEME TUNE PLAYS AGAIN
0:12:10 > 0:12:12OLYMPIC TORCH ADVERT MUSIC PLAYS AGAIN
0:12:12 > 0:12:15TREE FU TOM THEME TUNE PLAYS AGAIN
0:12:16 > 0:12:19OLYMPIC TORCH ADVERT MUSIC PLAYS AGAIN
0:12:21 > 0:12:22I hear where you're coming from, Alice,
0:12:22 > 0:12:24but the Tree Fu Tom music
0:12:24 > 0:12:28was written by the highly regarded composer Michael Plowman,
0:12:28 > 0:12:30and the Torch Relay theme
0:12:30 > 0:12:33was by none other than the indie rock heroes Elbow,
0:12:33 > 0:12:35so very different people.
0:12:35 > 0:12:38But was it a very different tune? Let's hear another snatch.
0:12:38 > 0:12:42OLYMPIC TORCH ADVERT MUSIC
0:12:42 > 0:12:45TREE FU TOM THEME TUNE
0:12:45 > 0:12:47OLYMPIC TORCH ADVERT MUSIC
0:12:47 > 0:12:48Well, I'm no expert,
0:12:48 > 0:12:53but I would say by coincidence, they do share the string flourishes
0:12:53 > 0:12:57and brass fanfares and driving percussion and the same key choice
0:12:57 > 0:13:02and similar tempos, so no, Alice, it was not your overtired brain.
0:13:02 > 0:13:05It's a good spot. Could just be a coincidence, though.
0:13:05 > 0:13:09We have been reliably informed we will be hearing the full version
0:13:09 > 0:13:12of the specially-commissioned Olympics track First Steps,
0:13:12 > 0:13:16performed by the BBC Philharmonic complete with gospel choir,
0:13:16 > 0:13:18throughout the Olympics.
0:13:18 > 0:13:21If, like Alice, you would like to point anything out to us,
0:13:21 > 0:13:24get in quick because it's our last programme of the series next week.
0:13:24 > 0:13:28Amongst other things, we'll be talking to the head of daytime TV.
0:13:28 > 0:13:29Here's how to write to us.
0:13:33 > 0:13:36You're also more than welcome to e-mail.
0:13:38 > 0:13:42Jump on the messageboard if you like. It's lively.
0:13:42 > 0:13:44Or you can phone us.
0:13:44 > 0:13:48The number is charged as a local rate call from any landline.
0:13:53 > 0:13:55Goodbye.
0:13:55 > 0:13:59Subtitles by Red Bee Media Ltd