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Autumn, a season ablaze with colour. | 0:00:28 | 0:00:31 | |
Leaves light up woodlands like fireworks. | 0:00:34 | 0:00:37 | |
So pull on your walking boots, fill a flask | 0:00:41 | 0:00:44 | |
and head outdoors to enjoy one of nature's greatest displays. | 0:00:44 | 0:00:48 | |
I'm in Big Tree Country in Perthshire, where the | 0:00:50 | 0:00:52 | |
trees are a kaleidoscope of colour | 0:00:52 | 0:00:54 | |
both day and night. | 0:00:54 | 0:00:57 | |
John is cooking up a colourful autumnal pud with Nancy Birtwhistle, | 0:00:59 | 0:01:04 | |
the Bake Off queen who's just surrendered her crown. | 0:01:04 | 0:01:06 | |
Autumn berries, not Mary Berry! | 0:01:06 | 0:01:08 | |
THEY LAUGH | 0:01:08 | 0:01:10 | |
And in Gloucestershire, tension mounts as Adam helps out with | 0:01:10 | 0:01:14 | |
one of the season's most vibrant spectacles... | 0:01:14 | 0:01:16 | |
STAG BELLOWS | 0:01:16 | 0:01:18 | |
..the red deer rut. | 0:01:18 | 0:01:19 | |
Right, he's just jumped up, and we just back off. | 0:01:19 | 0:01:22 | |
We can retreat out of the door. But he's all right, he's stopped now. | 0:01:22 | 0:01:26 | |
It's a bit nerve-racking! | 0:01:26 | 0:01:27 | |
'This is a celebration of the season.' | 0:01:30 | 0:01:33 | |
On today's programme, we are | 0:01:34 | 0:01:36 | |
going to be drawing from the colours | 0:01:36 | 0:01:37 | |
of nature's autumn palette, both the | 0:01:37 | 0:01:39 | |
expected and, as far as this apple is | 0:01:39 | 0:01:42 | |
concerned, apparently the unexpected. | 0:01:42 | 0:01:45 | |
'The shifting seasons are nature's timepiece, measuring the slow | 0:01:59 | 0:02:03 | |
'progress of the Earth's annual journey around the sun. | 0:02:03 | 0:02:07 | |
'Autumn first takes hold in the north, so I've come to | 0:02:09 | 0:02:13 | |
'Perthshire in Scotland, the land they call Big Tree Country.' | 0:02:13 | 0:02:18 | |
Vast tracts of land were given over to forest in the 18th century | 0:02:23 | 0:02:27 | |
by the Dukes of Atholl, transforming the landscape for posterity | 0:02:27 | 0:02:31 | |
and for profit. But I'm here for a spot of leaf peeping. | 0:02:31 | 0:02:35 | |
'Leaf peepers travel the globe in search of autumn's most vibrant | 0:02:38 | 0:02:41 | |
'hot spots. | 0:02:41 | 0:02:43 | |
'Top of the leaf-peeping tree are the forests of New England | 0:02:43 | 0:02:46 | |
'and the maples of Japan. | 0:02:46 | 0:02:48 | |
'And this place, Faskally Woods, | 0:02:50 | 0:02:53 | |
'is rated as one of the best places in the world to see autumn colour. | 0:02:53 | 0:02:57 | |
'But Faskally's reputation has a rather unusual history. | 0:02:57 | 0:03:01 | |
'At the heart of Big Tree Country, Faskally was planted in the 19th | 0:03:05 | 0:03:09 | |
'century as a model woodland | 0:03:09 | 0:03:10 | |
'and served as a teaching ground for young foresters. | 0:03:10 | 0:03:14 | |
'Here they tested new ideas, | 0:03:15 | 0:03:17 | |
'planting a wide array of trees in a small area. | 0:03:17 | 0:03:20 | |
'The result was a vast range of species, | 0:03:21 | 0:03:24 | |
'all offering their own autumn colours. | 0:03:24 | 0:03:27 | |
'Mike Cheesewright was a student here in the 1960s and is showing me | 0:03:28 | 0:03:32 | |
'around his forest classroom.' | 0:03:32 | 0:03:35 | |
Tell me about what it was that first brought you here. When was that? | 0:03:35 | 0:03:38 | |
That was 1961, the Forestry Commission. | 0:03:38 | 0:03:41 | |
I was working at that time in a forest nursery near Norwich, and I | 0:03:41 | 0:03:46 | |
got a letter saying, "You're going to Pitlochry, to the forestry school." | 0:03:46 | 0:03:49 | |
I said, "Where's Pitlochry?!" ELLIE LAUGHS | 0:03:49 | 0:03:52 | |
So, what were you learning? You were here to learn what? | 0:03:52 | 0:03:55 | |
About forestry and the management of forests, | 0:03:55 | 0:03:58 | |
everything from planting the trees to managing them. | 0:03:58 | 0:04:02 | |
So some of the trees in this wood might have been planted by you! | 0:04:02 | 0:04:05 | |
Ooh, indeed, yes. Yes. | 0:04:05 | 0:04:07 | |
Each student was given a tenth-of- an-acre plot to clear the timber that | 0:04:07 | 0:04:13 | |
was on that plot and then to decide what was going to be planted there. | 0:04:13 | 0:04:18 | |
Why do you think autumn's such a big draw for people here? | 0:04:18 | 0:04:21 | |
Autumn colours. | 0:04:21 | 0:04:22 | |
If you go to Canada to look at the autumn colours there, | 0:04:24 | 0:04:28 | |
it's mile after mile after mile. | 0:04:28 | 0:04:30 | |
Here, every mile is different. | 0:04:31 | 0:04:34 | |
'Faskally isn't just a feast for the eyes, it's also a working woodland. | 0:04:41 | 0:04:46 | |
'But all the maintenance is carried out with preservation of autumn | 0:04:46 | 0:04:50 | |
'colour in mind. | 0:04:50 | 0:04:51 | |
'Charlie Taylor from Forest Enterprise Scotland is going | 0:04:51 | 0:04:54 | |
'to tell me how it's done.' | 0:04:54 | 0:04:55 | |
Why are we cleaning boots when we're going into a muddy forest? | 0:04:55 | 0:04:58 | |
-You've got very high standards here! -We're starting a campaign | 0:04:58 | 0:05:01 | |
called Keep it Clean, which is really to try and get all our visitors and | 0:05:01 | 0:05:04 | |
the folk that work regularly in the forest to clean their boots, clean | 0:05:04 | 0:05:08 | |
their bike wheels, clean paws of their pets that come in the forest. | 0:05:08 | 0:05:12 | |
It's really to try and prevent or reduce the spread of disease, | 0:05:12 | 0:05:16 | |
because we've got some quite serious disease across the country now. | 0:05:16 | 0:05:19 | |
Right, I think we're pretty squeaky. Shall we grab our bits? | 0:05:19 | 0:05:22 | |
-Grab our gear and grab a saw. Here you go. -Right! | 0:05:22 | 0:05:25 | |
-And we'll head off down the hill. -All right! | 0:05:25 | 0:05:27 | |
Right, what's the plan, then? | 0:05:28 | 0:05:30 | |
Well, in this particular part of the forest, we want to perpetuate | 0:05:30 | 0:05:33 | |
the larch trees, so what we have to do | 0:05:33 | 0:05:35 | |
is we thin the trees at all stages. | 0:05:35 | 0:05:38 | |
And the larch, we need to thin them quite early on to space them out. | 0:05:38 | 0:05:41 | |
So it's a bit like spacing carrots in your garden. | 0:05:41 | 0:05:44 | |
So you've got ten or so here | 0:05:44 | 0:05:46 | |
and ultimately you'll end up with just the one? | 0:05:46 | 0:05:48 | |
Yeah, in the longer term. | 0:05:48 | 0:05:50 | |
-OK, so, time to gear up. -All right, let's cut some trees! | 0:05:50 | 0:05:53 | |
-How close to the ground? -Give yourself a bit of room. -OK. | 0:05:55 | 0:05:59 | |
That's it. Yeah, you're off now. | 0:05:59 | 0:06:02 | |
Agh! | 0:06:02 | 0:06:04 | |
-Done! -So now, looking up... | 0:06:05 | 0:06:09 | |
-Yeah, this has got loads of room now. -Yeah, that's off and running. | 0:06:10 | 0:06:13 | |
-And is it just these little ones that you take out? -Well, no. | 0:06:13 | 0:06:16 | |
We've got to think about the upper canopy, | 0:06:16 | 0:06:19 | |
create some space for these trees to get up into the light, | 0:06:19 | 0:06:22 | |
so we have to move some of the big trees, as well. | 0:06:22 | 0:06:24 | |
CHAINSAW ROARS | 0:06:24 | 0:06:26 | |
'Time to step things up a gear.' | 0:06:27 | 0:06:29 | |
There it goes. | 0:06:40 | 0:06:42 | |
-Timber! -SHE LAUGHS | 0:06:43 | 0:06:45 | |
-What a thud that makes when it lands! -Yeah, it is fantastic. | 0:06:46 | 0:06:50 | |
'A valuable crop and a little more headroom for the next | 0:06:50 | 0:06:53 | |
'generation of larches.' | 0:06:53 | 0:06:55 | |
CHAINSAW ROARS | 0:06:55 | 0:06:57 | |
'With continued management, this woodland should provide a riot | 0:06:57 | 0:07:02 | |
'of colour to delight leaf peepers not just this autumn | 0:07:02 | 0:07:05 | |
'but for many seasons to come.' | 0:07:05 | 0:07:07 | |
Later on, I'll be finding out how these woods get even more | 0:07:09 | 0:07:12 | |
colourful after the sun goes down. | 0:07:12 | 0:07:15 | |
But first, Matt is down south, in Kent, where the | 0:07:17 | 0:07:19 | |
trees are alive with their own colour of autumn. | 0:07:19 | 0:07:22 | |
'England's orchards are expecting their biggest harvest in more | 0:07:31 | 0:07:34 | |
'than 20 years. | 0:07:34 | 0:07:36 | |
'An estimated 160,000 tonnes of apples will be picked this autumn.' | 0:07:40 | 0:07:44 | |
The success - or not - | 0:07:46 | 0:07:47 | |
of an apple crop used to lie in the hands of the gods. | 0:07:47 | 0:07:50 | |
The wrong weather would determine the fate of the harvest. | 0:07:50 | 0:07:53 | |
But now, as British growers operate in an increasingly competitive | 0:07:53 | 0:07:57 | |
market, the latest in science | 0:07:57 | 0:07:59 | |
and technology plays a big part in success, too. | 0:07:59 | 0:08:02 | |
-So, James, here we are, then, what, a month into the harvest? -Yes, yeah. | 0:08:07 | 0:08:11 | |
How is it looking this year? | 0:08:11 | 0:08:12 | |
It's looking very good for us at the moment, Matt. | 0:08:12 | 0:08:14 | |
The yields are very good, | 0:08:14 | 0:08:16 | |
we've had a wonderful summer that's grown the apples very | 0:08:16 | 0:08:18 | |
nicely for us and, as you can see, bright and vibrant colour. | 0:08:18 | 0:08:22 | |
'Jim Simpson is the managing director of Adrian Scripps, | 0:08:23 | 0:08:27 | |
'one of the country's top apple growers. | 0:08:27 | 0:08:30 | |
'Their orchards have been designed to produce as much | 0:08:30 | 0:08:33 | |
'fruit as possible.' | 0:08:33 | 0:08:34 | |
This is an apple called Kanzi. | 0:08:34 | 0:08:37 | |
What we're trying to do, like all farmers and growers, | 0:08:37 | 0:08:39 | |
-is maximise our productivity per hectare. -Mm-hm. | 0:08:39 | 0:08:43 | |
So we're planting a more intensive orchard with our trees closer | 0:08:43 | 0:08:47 | |
together so that we get more cropping wood and then more fruit. | 0:08:47 | 0:08:50 | |
This is known as the trellis technique. | 0:08:50 | 0:08:52 | |
So, James, why does it work so well as far as productivity's concerned? | 0:08:52 | 0:08:57 | |
We're trying to harvest sunlight and produce the very best apples | 0:08:57 | 0:09:02 | |
we can, a consistent quality. | 0:09:02 | 0:09:04 | |
So, the slightly narrower tree exposes the fruit | 0:09:04 | 0:09:08 | |
and keeps the fruit out into the sunlight, | 0:09:08 | 0:09:10 | |
and we can see the effect of that by looking at this apple. | 0:09:10 | 0:09:13 | |
So, this has sat in the sun... | 0:09:13 | 0:09:15 | |
and that's been covered by a leaf. | 0:09:15 | 0:09:18 | |
'Today, half of British-grown apples are produced using this | 0:09:18 | 0:09:22 | |
'intensive method.' | 0:09:22 | 0:09:23 | |
So it seems like the old-fashioned orchard with classic apple | 0:09:25 | 0:09:28 | |
trees is a thing of the past, but to make apple trees grow like this | 0:09:28 | 0:09:33 | |
takes a lot more than clever pruning. | 0:09:33 | 0:09:35 | |
'Our modern super-orchards were first developed here, | 0:09:40 | 0:09:43 | |
'at East Malling Research Station in Kent. | 0:09:43 | 0:09:46 | |
'Set up in 1913 to support local fruit growers, its work | 0:09:47 | 0:09:51 | |
'was to change the shape and size of orchards round the world. | 0:09:51 | 0:09:55 | |
'Every last detail of an apple tree was scrutinised to | 0:09:56 | 0:10:00 | |
'reveal its secrets, | 0:10:00 | 0:10:02 | |
'including digging underground tunnels to study the trees' roots.' | 0:10:02 | 0:10:06 | |
-You all right? -Good to meet you. -Is this the original underground lab? | 0:10:08 | 0:10:11 | |
It is, yes. Yes, and this is where we look at the root growth | 0:10:11 | 0:10:15 | |
and the root architecture of different fruit trees. | 0:10:15 | 0:10:18 | |
'Today, Dr Mark Else is following in the footsteps of the pioneering | 0:10:18 | 0:10:22 | |
'scientists who helped turn the humble apple | 0:10:22 | 0:10:25 | |
'tree into a high-performance machine.' | 0:10:25 | 0:10:27 | |
Back in the early days of this place, | 0:10:29 | 0:10:31 | |
what problems were scientists trying to solve, Mark? | 0:10:31 | 0:10:33 | |
Problems associated with growing fruit trees, | 0:10:33 | 0:10:36 | |
so that might have been trying to control the size of the tree, | 0:10:36 | 0:10:39 | |
trying to get the blossom to set, | 0:10:39 | 0:10:40 | |
understanding how to prune the trees to get maximum yields. | 0:10:40 | 0:10:44 | |
Pest and disease issues, of course, were still a big problem then. | 0:10:44 | 0:10:48 | |
'To solve these problems, scientists looked at how using different root | 0:10:48 | 0:10:52 | |
'systems or rootstocks could control different aspects of a fruit tree.' | 0:10:52 | 0:10:56 | |
This is the rootstock, with the root system going into the ground. | 0:10:56 | 0:11:00 | |
This is what's called the scion, the part of the tree that bears fruit. | 0:11:00 | 0:11:03 | |
-Yep. -And you can see here, basically this is the graft union, so this | 0:11:03 | 0:11:06 | |
is where those two genetically different trees | 0:11:06 | 0:11:08 | |
were grafted together. | 0:11:08 | 0:11:09 | |
So we can get a good idea of how controlling this rootstock is | 0:11:09 | 0:11:13 | |
-by simply taking a walk down here, can't we? -Yes. Yes. | 0:11:13 | 0:11:16 | |
-Is that fully grown? -Yes, it is. | 0:11:16 | 0:11:18 | |
This is a very old tree. So, all these trees were planted at the | 0:11:18 | 0:11:21 | |
same time, and the scion, the apple variety, is the same in each case. | 0:11:21 | 0:11:26 | |
The only difference is the rootstock. | 0:11:26 | 0:11:28 | |
So you can see as you go down the row, then, | 0:11:28 | 0:11:30 | |
there's a very clear difference in terms of tree size and tree vigour. | 0:11:30 | 0:11:33 | |
Absolutely. And when you look at the girth of the actual trunk, as well, | 0:11:33 | 0:11:36 | |
-I mean, yeah, it's different all round. -Yes. | 0:11:36 | 0:11:40 | |
-And that's the rootstock effect. -Right. | 0:11:40 | 0:11:42 | |
'East Malling's crowning glory was categorising the M9 or Malling 9, | 0:11:43 | 0:11:48 | |
'a rootstock ideal for commercial orchards. | 0:11:48 | 0:11:52 | |
'It was so successful that at one time more than 95% of apples | 0:11:52 | 0:11:56 | |
'grown in Europe had a direct connection to the M9. | 0:11:56 | 0:11:59 | |
'Unfortunately, nobody thought to register it.' | 0:12:01 | 0:12:04 | |
It was a nice idea, | 0:12:05 | 0:12:06 | |
what this place was doing, purely from creating a beautiful | 0:12:06 | 0:12:09 | |
apple tree for lots of people to get wonderful apples from, | 0:12:09 | 0:12:12 | |
but it hasn't been a moneymaker. | 0:12:12 | 0:12:15 | |
In those days, patenting wasn't considered to be important. | 0:12:15 | 0:12:18 | |
It was providing a service to the fruit industry. | 0:12:18 | 0:12:21 | |
And if that was created in today's day and age, I mean, | 0:12:21 | 0:12:24 | |
how much money would that have generated for this place | 0:12:24 | 0:12:27 | |
if you had've patented it? | 0:12:27 | 0:12:29 | |
Combined with the fact that it's a dwarfing rootstock | 0:12:29 | 0:12:31 | |
and so it also delivers huge savings in labour, | 0:12:31 | 0:12:34 | |
at today's prices the net additional benefit would be | 0:12:34 | 0:12:38 | |
around £8.2 billion. | 0:12:38 | 0:12:40 | |
MATT GASPS | 0:12:40 | 0:12:42 | |
Wow! | 0:12:42 | 0:12:43 | |
-That's...! That is some price, isn't it? -Yes. Yes...! | 0:12:43 | 0:12:48 | |
'It's a mistake that they won't make again. | 0:12:52 | 0:12:56 | |
'East Malling continue their work to improve rootstocks | 0:12:56 | 0:12:59 | |
'as well as developing new tastes and aromas, | 0:12:59 | 0:13:03 | |
'producing and trialling the apples that we'll be eating in the future.' | 0:13:03 | 0:13:07 | |
Here we have lots of different types of apple that were bred | 0:13:08 | 0:13:11 | |
probably between 25, 30 years ago, and the idea at that time was | 0:13:11 | 0:13:15 | |
trying to predict what the consumer would prefer in 20, 30 years' time. | 0:13:15 | 0:13:21 | |
So there's a lot of genetic variability in these selections. | 0:13:21 | 0:13:24 | |
-Each tree, each apple has its own different characteristics. -Right. | 0:13:24 | 0:13:28 | |
-And can we just lunge in and just grab one and taste it? -Sure, yeah. | 0:13:28 | 0:13:31 | |
OK. | 0:13:32 | 0:13:33 | |
I like that. What's this one called? | 0:13:38 | 0:13:39 | |
Well, because it isn't a commercial variety, | 0:13:39 | 0:13:41 | |
it doesn't have a name, it just has a number at the moment. | 0:13:41 | 0:13:44 | |
-OK. -Try this one. | 0:13:44 | 0:13:45 | |
Mm! | 0:13:48 | 0:13:49 | |
Oh, it's pink inside! Well, that's a lot more fun. | 0:13:49 | 0:13:52 | |
Try this one. | 0:13:52 | 0:13:54 | |
Oh, my word, that looks like a toffee apple. | 0:13:54 | 0:13:56 | |
Doesn't it? Look at that, it glints in the sunlight. | 0:13:56 | 0:14:00 | |
Oh, my word! Look at that inside! Mm! | 0:14:02 | 0:14:06 | |
That is incredibly juicy. | 0:14:06 | 0:14:09 | |
Oh, my word, it's like a cherry crossed with an apple. | 0:14:10 | 0:14:14 | |
That is absolutely delicious. | 0:14:14 | 0:14:16 | |
The thing is, that's packed full of antioxidants, | 0:14:16 | 0:14:18 | |
so in terms of health benefits to consumers, that's a very good apple. | 0:14:18 | 0:14:23 | |
It could also potentially help to extend the storage life | 0:14:23 | 0:14:25 | |
-because of these antioxidants in the apple. -Right! | 0:14:25 | 0:14:28 | |
So that's the purpose of these sort of selections, is to think | 0:14:28 | 0:14:30 | |
past taste and flavour but also | 0:14:30 | 0:14:33 | |
the added benefits of that sort of apple. | 0:14:33 | 0:14:35 | |
If you were the one who created this thing 30 years ago, you've nailed it! | 0:14:35 | 0:14:41 | |
It's absolutely beautiful! | 0:14:41 | 0:14:43 | |
'This apple of the future, the Redlove, | 0:14:45 | 0:14:47 | |
'will hopefully make its way into our fruit bowls early next year.' | 0:14:47 | 0:14:51 | |
Well, this week's programme is all about autumn colour, but if you would | 0:14:57 | 0:15:01 | |
like some countryside colour all year round, well, | 0:15:01 | 0:15:04 | |
why not bag yourself one of these? | 0:15:04 | 0:15:06 | |
Look, the Countryfile calendar for 2016, | 0:15:06 | 0:15:08 | |
sold in aid of Children in Need, | 0:15:08 | 0:15:10 | |
with this cheery little fella on the front, Happy Hedgehog. | 0:15:10 | 0:15:14 | |
Our Colours Of The Countryside calendar costs £9.50, | 0:15:14 | 0:15:17 | |
including free UK delivery. | 0:15:17 | 0:15:20 | |
You can buy yours either via our website... | 0:15:20 | 0:15:22 | |
..or by calling the order line. | 0:15:26 | 0:15:28 | |
To order by post, send your name, address and cheque to: | 0:15:37 | 0:15:41 | |
A minimum of £4 from the sale of every calendar will go to | 0:15:53 | 0:15:56 | |
Children in Need. | 0:15:56 | 0:15:57 | |
Now, last year's calendar was a record-breaker, | 0:15:57 | 0:16:00 | |
raising over £1.5 million, so this year, with your help | 0:16:00 | 0:16:05 | |
and that of the happy hedgehog, we hope to raise even more. | 0:16:05 | 0:16:08 | |
'Now, over in Devon, we heard about one rare breed | 0:16:09 | 0:16:13 | |
'making a colourful mark on the landscape.' | 0:16:13 | 0:16:15 | |
My favourite colour is probably bluey-grey. | 0:16:24 | 0:16:27 | |
It runs through the poultry and the sheep now, as well. | 0:16:27 | 0:16:31 | |
-C'mon! -SHE WHISTLES | 0:16:32 | 0:16:34 | |
'Colour is important to Gillian Dixon. | 0:16:36 | 0:16:39 | |
'On the 93-acre farm she runs with her husband Ian, their menagerie | 0:16:39 | 0:16:43 | |
'of animals comes in many distinct tones, especially the sheep.' | 0:16:43 | 0:16:47 | |
We're an overgrown smallholding rather than a large commercial | 0:16:48 | 0:16:51 | |
farm, so we've got the opportunity to experiment with | 0:16:51 | 0:16:53 | |
different-coloured sheep. | 0:16:53 | 0:16:56 | |
We started off with Balwen, which are a small Welsh breed. | 0:16:56 | 0:17:00 | |
We have coloured Ryelands, which are a really attractive, | 0:17:00 | 0:17:03 | |
stocky little breed, but they've got a very interesting fleece, | 0:17:03 | 0:17:06 | |
some Zwartbles, which are a Dutch breed, and particularly | 0:17:06 | 0:17:10 | |
a project that I'm working on at the moment is lavender sheep. | 0:17:10 | 0:17:14 | |
This is Dilly, named after lavender dilly, and you can see | 0:17:19 | 0:17:23 | |
the markings that we're striving for to get a nice blaze, | 0:17:23 | 0:17:27 | |
blue, bluey-grey on the face. | 0:17:27 | 0:17:30 | |
She's got the characteristic pale grey round the eye. | 0:17:30 | 0:17:33 | |
And then you can see her fleece is this very unusual colour. | 0:17:33 | 0:17:36 | |
And if I part it... | 0:17:36 | 0:17:39 | |
you can see it's sort of more grey at the base. | 0:17:39 | 0:17:41 | |
There's very few sheep that have a blue face, | 0:17:41 | 0:17:43 | |
but none of them have this completely | 0:17:43 | 0:17:45 | |
bluey-grey-coloured fleece. | 0:17:45 | 0:17:47 | |
'This unusual breed of lavender sheep | 0:17:53 | 0:17:55 | |
'came about by accident 20 years ago.' | 0:17:55 | 0:17:58 | |
It was the gene from these unusual lavender Jacobs that | 0:17:58 | 0:18:02 | |
led to the development of the lavender sheep. | 0:18:02 | 0:18:05 | |
Very rarely, a lavender-coloured Jacob will be born rather than | 0:18:05 | 0:18:08 | |
a black and white one. | 0:18:08 | 0:18:10 | |
The Jacob breed society doesn't recognise the lavender Jacobs, | 0:18:10 | 0:18:14 | |
so the gene's going to be lost, essentially, if that's the case. | 0:18:14 | 0:18:17 | |
So by using it in developing the lavender sheep, it's | 0:18:17 | 0:18:20 | |
a way of saving the gene | 0:18:20 | 0:18:22 | |
and preventing its extinction, essentially. | 0:18:22 | 0:18:24 | |
'There are fewer than 30 lavender ewes in the country, and with the | 0:18:29 | 0:18:33 | |
'autumn tupping season upon us, | 0:18:33 | 0:18:35 | |
'Gillian is looking to secure a future for this colourful breed.' | 0:18:35 | 0:18:39 | |
Come on, then. | 0:18:39 | 0:18:40 | |
'Well, we've got some Zwartble ewes running with this lavender ram lamb. | 0:18:40 | 0:18:44 | |
'He was born in January, February time. | 0:18:44 | 0:18:46 | |
'He was a twin, so he's not particularly big, | 0:18:46 | 0:18:49 | |
'so we're kind of hoping that he can actually reach the ewes. | 0:18:49 | 0:18:52 | |
'But he's definitely showing interest in the ewes.' | 0:18:52 | 0:18:54 | |
Hopefully he won't need a pedestal! | 0:18:54 | 0:18:56 | |
Next year, my understanding from the genetics is that all the lambs | 0:18:58 | 0:19:02 | |
will probably come out black. | 0:19:02 | 0:19:04 | |
Then, if we breed those back to lavender, | 0:19:04 | 0:19:06 | |
we should get 50-50 lavender and black. | 0:19:06 | 0:19:09 | |
We would keep the lavenders and go on with those. | 0:19:09 | 0:19:12 | |
So it's definitely a long-term project. | 0:19:12 | 0:19:15 | |
'Now, from rare flocks in Devon to unusual crops in Yorkshire. | 0:19:17 | 0:19:22 | |
'Here's John.' | 0:19:22 | 0:19:24 | |
'Autumn's harvest - at this time of year, | 0:19:27 | 0:19:30 | |
'there are colourful crops you expect to see. | 0:19:30 | 0:19:34 | |
'And some you don't.' | 0:19:34 | 0:19:36 | |
I'm on the outskirts of Pontefract | 0:19:36 | 0:19:39 | |
for something of a Countryfile exclusive. | 0:19:39 | 0:19:42 | |
I'm going to be helping uproot the first commercial | 0:19:42 | 0:19:45 | |
crop for nearly 50 years | 0:19:45 | 0:19:47 | |
of liquorice. | 0:19:47 | 0:19:49 | |
'We know it as the sticky black stuff of childhood sweetshops, | 0:19:51 | 0:19:55 | |
'but that's not how the story starts.' | 0:19:55 | 0:19:57 | |
For thousands of years, in various parts of the world, | 0:19:59 | 0:20:02 | |
liquorice has been used as a medicine, to ease coughs, | 0:20:02 | 0:20:06 | |
colds and stomach complaints, and it's thought that in the | 0:20:06 | 0:20:09 | |
Middle Ages, Spanish monks brought | 0:20:09 | 0:20:12 | |
liquorice plants here to West Yorkshire. | 0:20:12 | 0:20:14 | |
'They thrived in Pontefract's sandy soil. | 0:20:17 | 0:20:20 | |
'But it wasn't until the 1750s, when an enterprising chemist added | 0:20:20 | 0:20:25 | |
'sugar to the crop, | 0:20:25 | 0:20:26 | |
'that the liquorice confectionery industry was born.' | 0:20:26 | 0:20:30 | |
Well, when I was a lad, John, all round where the eye can see | 0:20:33 | 0:20:36 | |
was just liquorice fields, nothing else but liquorice fields. | 0:20:36 | 0:20:41 | |
'Tom Dixon comes from a long line of liquorice farmers | 0:20:41 | 0:20:44 | |
'and remembers a time when the famous crops dominated Pontefract.' | 0:20:44 | 0:20:49 | |
-I mean, it was a huge industry, wasn't it? -Oh, a massive industry. | 0:20:50 | 0:20:53 | |
At the turn of the century, | 0:20:53 | 0:20:55 | |
there were 17 factories producing sweets in this town. | 0:20:55 | 0:20:58 | |
And now there's only two. | 0:20:58 | 0:21:00 | |
And in the heyday of the liquorice industry, | 0:21:00 | 0:21:02 | |
just about everybody here would have been employed in it. | 0:21:02 | 0:21:05 | |
Oh, the majority of the girls from the town | 0:21:05 | 0:21:07 | |
and the surrounding villages was all employed in the liquorice factories. | 0:21:07 | 0:21:10 | |
All of them. | 0:21:10 | 0:21:12 | |
We used to call them stampers, liquorice stampers. | 0:21:12 | 0:21:15 | |
And you could tell a girl, | 0:21:15 | 0:21:16 | |
when you went out into Pontefract on the night, whether she was | 0:21:16 | 0:21:19 | |
a stamper, cos they were walking | 0:21:19 | 0:21:20 | |
round town like this, John. | 0:21:20 | 0:21:22 | |
-They couldn't ruddy stop! -They couldn't stop stamping! | 0:21:22 | 0:21:24 | |
No, they were stamping all the time, they were knocking all the time. | 0:21:24 | 0:21:28 | |
And what about actually harvesting the liquorice? | 0:21:28 | 0:21:31 | |
That must have been hard work. | 0:21:31 | 0:21:32 | |
Oh, it was hard work, John, because there was no automation. | 0:21:32 | 0:21:35 | |
Everything was done by spades. | 0:21:35 | 0:21:38 | |
And they had to dig trenches down about six to seven feet. | 0:21:38 | 0:21:42 | |
It was really back-breaking work. | 0:21:42 | 0:21:44 | |
'But the industry became a victim of its own success. | 0:21:46 | 0:21:50 | |
'The crop was labour-intensive and slow to grow, | 0:21:50 | 0:21:53 | |
'so cheaper imported root began to take over. | 0:21:53 | 0:21:57 | |
'By the end of the 1960s, | 0:21:57 | 0:21:59 | |
'the liquorice fields of Pontefract were no more. | 0:21:59 | 0:22:03 | |
'But after nearly half a century, | 0:22:05 | 0:22:07 | |
'one farming family is bringing the sweet stuff back again. | 0:22:07 | 0:22:11 | |
'The Copleys took over this 120-acre farm in 2003, | 0:22:13 | 0:22:18 | |
'and they decided that, amongst the potatoes and the pumpkins, | 0:22:18 | 0:22:22 | |
'there was room for some local heritage, 50 liquorice plants.' | 0:22:22 | 0:22:26 | |
-Heather! -Hi! -Good to see you! | 0:22:28 | 0:22:30 | |
Now, this is the first time I've ever seen a liquorice plant. | 0:22:30 | 0:22:33 | |
Well, you and most of the population. | 0:22:33 | 0:22:35 | |
-Yes, it is a rather unique plant. -Yeah! | 0:22:35 | 0:22:38 | |
And why revive it, then, after 50 years? | 0:22:38 | 0:22:41 | |
Well, the majority of people that can remember it are 80-plus, | 0:22:41 | 0:22:44 | |
and if we didn't pick it up or somebody pick it up | 0:22:44 | 0:22:46 | |
and run with it, I do feel the whole history, | 0:22:46 | 0:22:48 | |
the story and the future of liquorice would be lost. | 0:22:48 | 0:22:51 | |
So this is living history now. | 0:22:51 | 0:22:53 | |
Yes. Yes, we've revived it, | 0:22:53 | 0:22:55 | |
and now we'll try and bring it back to Pontefract. | 0:22:55 | 0:22:58 | |
And, of course, with liquorice, | 0:22:58 | 0:22:59 | |
-it's not what's above the ground that's important, is it? -No. | 0:22:59 | 0:23:03 | |
It's what's underneath, the roots. | 0:23:03 | 0:23:05 | |
And how far would the roots spread from each plant? | 0:23:05 | 0:23:08 | |
They will go down about four feet and up to 25 feet long. | 0:23:08 | 0:23:13 | |
You're really starting on a small scale. Can you see it becoming big? | 0:23:13 | 0:23:16 | |
I can see, if we get the product of designated origin, | 0:23:16 | 0:23:20 | |
-that could be a real turn-up for us. -Like Melton Mowbray pies? | 0:23:20 | 0:23:23 | |
-You'd have Pontefract liquorice. -Absolutely. That'd be amazing. | 0:23:23 | 0:23:26 | |
So we really want to put it back on the map. | 0:23:26 | 0:23:29 | |
Well, Heather, I know somebody who would really like to | 0:23:30 | 0:23:33 | |
-experiment with your liquorice in the kitchen. -That's fantastic. | 0:23:33 | 0:23:37 | |
-I can't wait to see. -All the best with the harvest. -Thank you! | 0:23:37 | 0:23:39 | |
Thank you! Bye-bye! | 0:23:39 | 0:23:41 | |
'Nancy Birtwhistle shot to fame as last year's | 0:23:44 | 0:23:47 | |
'winner of The Great British Bake Off.' | 0:23:47 | 0:23:49 | |
-..Nancy. -CHEERING AND APPLAUSE | 0:23:49 | 0:23:52 | |
'As a Yorkshire lass, Nancy knows a bit about liquorice | 0:23:53 | 0:23:56 | |
'and an awful lot about baking.' | 0:23:56 | 0:23:59 | |
Nancy, I've brought you some liquorice. | 0:23:59 | 0:24:01 | |
-Did you know it was making a comeback in Yorkshire? -I didn't! | 0:24:01 | 0:24:04 | |
-And this is the fresh root. -It is, straight from the ground, yeah. | 0:24:04 | 0:24:07 | |
Never seen it like this. | 0:24:07 | 0:24:09 | |
As I remember it, it was a dried stick, and we used to chew on it. | 0:24:09 | 0:24:14 | |
-Oh, yes! It lasted all day. -And it lasted all day when you were playing. | 0:24:14 | 0:24:18 | |
And I think it was a penny a stick. | 0:24:18 | 0:24:20 | |
I didn't really like the taste of that, | 0:24:20 | 0:24:22 | |
-because it was very bitter, wasn't it? -I did! I did like it. I did. | 0:24:22 | 0:24:26 | |
'A few seasonal berries will top our dish, | 0:24:29 | 0:24:32 | |
'but first to prepare the star of the show. | 0:24:32 | 0:24:35 | |
'Nancy wastes no time preparing a liquorice reduction using water, | 0:24:36 | 0:24:41 | |
'star anise and our freshly harvested roots.' | 0:24:41 | 0:24:45 | |
What we're going to make, what I've got an idea about, | 0:24:46 | 0:24:49 | |
-is a chocolate tart. -Mm-hm. | 0:24:49 | 0:24:51 | |
And chocolate and aniseed work very well together, | 0:24:51 | 0:24:54 | |
and there's absolutely no reason why chocolate | 0:24:54 | 0:24:57 | |
and liquorice shouldn't work deliciously well together. | 0:24:57 | 0:25:00 | |
Do you want to pour this liquor into that chocolate | 0:25:02 | 0:25:05 | |
and give it a gentle stir? And I'll do this. | 0:25:05 | 0:25:07 | |
-What, stir as I'm pouring it? -Yeah. -Yeah. -Absolutely perfect. | 0:25:07 | 0:25:11 | |
-So, this could be a big new thing, could it? -Why not? -If it works! | 0:25:11 | 0:25:15 | |
I mean, we're looking for new flavour combinations all the time, John. | 0:25:15 | 0:25:19 | |
It's a pity you can't have another go at Bake Off. | 0:25:19 | 0:25:21 | |
Well, I think this would win 'em over! | 0:25:21 | 0:25:24 | |
JOHN LAUGHS | 0:25:24 | 0:25:25 | |
'It bakes gently for 50 minutes. | 0:25:28 | 0:25:31 | |
'And our autumn berries complement the chocolate tart flavoured | 0:25:33 | 0:25:37 | |
'with the oldest newcomer in town, Pontefract liquorice.' | 0:25:37 | 0:25:42 | |
-Well! -Here you go, then, John. -Time for the taste test. | 0:25:42 | 0:25:46 | |
Time for the taste test. | 0:25:46 | 0:25:48 | |
-Let me cut you a slice. -Ooh, yes. Now... | 0:25:48 | 0:25:51 | |
Mm! | 0:25:54 | 0:25:56 | |
Yes, I can definitely taste the liquorice. | 0:25:56 | 0:25:58 | |
-You need a good dollop of it, don't you, into the chocolate? -Mm. | 0:25:58 | 0:26:01 | |
I think you're on to a winner, Nancy. | 0:26:01 | 0:26:04 | |
A Hollywood handshake! | 0:26:04 | 0:26:07 | |
And if you'd like to try this at home, well, | 0:26:07 | 0:26:09 | |
Nancy's recipe is on our website. | 0:26:09 | 0:26:12 | |
-A bit more, I think. Don't you? -NANCY LAUGHS | 0:26:16 | 0:26:19 | |
'I'm in Faskally Woods in Perthshire... | 0:26:26 | 0:26:29 | |
'..exploring one of the best places in the UK to see autumn colour.' | 0:26:30 | 0:26:34 | |
With a fresh nip in the air and the sun low in the sky, it is | 0:26:37 | 0:26:41 | |
undeniably autumn. But what is it that makes this season so colourful? | 0:26:41 | 0:26:45 | |
'BBC weatherman John Hammond is on hand to shed | 0:26:54 | 0:26:57 | |
'a bit of light on nature's blazing display.' | 0:26:57 | 0:27:00 | |
-All right, John? -Hello, Ellie! | 0:27:02 | 0:27:04 | |
-Welcome to my secret scientific cinema. -Ooh! | 0:27:04 | 0:27:06 | |
-What time does the movie start? -Tickets, please! No, it's free. | 0:27:06 | 0:27:09 | |
Fantastic. So, you're going to tell me why autumn is so colourful. | 0:27:09 | 0:27:14 | |
Hopefully, yes. Now, let me ask you a question. | 0:27:14 | 0:27:17 | |
What do eggs, aubergines and flamingos have in common? | 0:27:17 | 0:27:21 | |
You've got me on that one. | 0:27:21 | 0:27:22 | |
They're all things we use to forecast the weather. | 0:27:22 | 0:27:24 | |
No, only kidding. We use seaweed, of course. | 0:27:24 | 0:27:27 | |
They all contain the same pigments that we see in autumn leaves. | 0:27:27 | 0:27:32 | |
So, for example, yellow leaves, they contain xanthophyll, | 0:27:32 | 0:27:36 | |
and it's xanthophyll that you get in egg yolk. | 0:27:36 | 0:27:40 | |
-A-ha! -OK? Orange leaves, well, they contain... -This one? -..carotene. | 0:27:40 | 0:27:46 | |
But, actually, flamingos, though they're pink, contain carotene, | 0:27:46 | 0:27:50 | |
because flamingos eat shrimps, | 0:27:50 | 0:27:52 | |
and it's the carotene within shrimps which contains the orange pigment. | 0:27:52 | 0:27:57 | |
And last but not least, the aubergines. | 0:27:57 | 0:27:59 | |
Now, that contains anthocyanin, and so does red cabbage, for example, and | 0:27:59 | 0:28:03 | |
-it's the anthocyanin in the red leaves that you get in autumn. -A-ha! | 0:28:03 | 0:28:08 | |
It's the proportion of all these different pigments which determine | 0:28:08 | 0:28:11 | |
what colour the leaves are for the various species in autumn. | 0:28:11 | 0:28:14 | |
-So, how do we end up seeing these colours in the leaves? -Ah. OK. | 0:28:14 | 0:28:18 | |
Well, let me show you using my little projector here. | 0:28:18 | 0:28:21 | |
Now, normally, of course, leaves are what colour? | 0:28:21 | 0:28:25 | |
Green! | 0:28:25 | 0:28:26 | |
Green, yes, and it's the green, which is chlorophyll, which helps to | 0:28:26 | 0:28:31 | |
photosynthesise the energy coming from the sunshine, and that's what | 0:28:31 | 0:28:34 | |
charges the tree through the year and energises it and allows it to grow. | 0:28:34 | 0:28:38 | |
But actually, what you might not know | 0:28:38 | 0:28:40 | |
is that hidden beneath the chlorophyll are | 0:28:40 | 0:28:43 | |
the yellows and the oranges, and what happens later on in the summer | 0:28:43 | 0:28:47 | |
is that the sunshine tends to kill off the chlorophyll as the days | 0:28:47 | 0:28:49 | |
get shorter and it reveals those yellows and oranges, | 0:28:49 | 0:28:53 | |
hence the beautiful autumn colours you get in September and October. | 0:28:53 | 0:28:56 | |
What about the reds that we see? | 0:28:56 | 0:28:58 | |
Ah! Now, something rather different happens here. | 0:28:58 | 0:29:01 | |
We tend to get sugars building up in the leaves, | 0:29:01 | 0:29:04 | |
and those sugars are converted to anthocyanin, | 0:29:04 | 0:29:08 | |
and it's the anthocyanin which produces the beautiful | 0:29:08 | 0:29:11 | |
reds of the maple and the Virginia creeper, for example. | 0:29:11 | 0:29:14 | |
You're the weatherman, so you can tell me - | 0:29:14 | 0:29:16 | |
how does the weather relate to the show that we get? | 0:29:16 | 0:29:19 | |
Well, of course, through the spring and summer, | 0:29:19 | 0:29:21 | |
what we need is moisture to provide the nutrients for those trees, | 0:29:21 | 0:29:25 | |
so ideally a wet late spring, early summer. | 0:29:25 | 0:29:28 | |
But then, later on in the summer, | 0:29:28 | 0:29:30 | |
what we really need is lots of sunshine. | 0:29:30 | 0:29:32 | |
That actually helps to kill off the chlorophyll | 0:29:32 | 0:29:35 | |
and reveal the yellows and the oranges. | 0:29:35 | 0:29:38 | |
Warm days, cool nights through the autumn are ideal, and that allows | 0:29:38 | 0:29:41 | |
also the sugars to build up in the leaves to produce those red | 0:29:41 | 0:29:45 | |
-pigments, as well. -And how has it been here, where we are now? | 0:29:45 | 0:29:49 | |
Well, actually, here in Perthshire, I would say we are in position A. | 0:29:49 | 0:29:53 | |
It's been ideal through the year. | 0:29:53 | 0:29:55 | |
Other parts of the country, we've had a lot of variety, | 0:29:55 | 0:29:58 | |
but there's been no disaster, no prolonged drought, no sharp frost. | 0:29:58 | 0:30:02 | |
So wherever you are, I think | 0:30:02 | 0:30:03 | |
-the display will be pretty good this autumn. -Nice! | 0:30:03 | 0:30:05 | |
-And we're in the sweet spot right now. -We really are. -Thank you, John. | 0:30:05 | 0:30:08 | |
Have your aubergines, make yourself a moussaka. | 0:30:08 | 0:30:10 | |
-Hope you enjoyed the show. -I did, thank you! | 0:30:10 | 0:30:14 | |
We'd love to see the autumn colours that you've | 0:30:20 | 0:30:22 | |
captured from your part of the | 0:30:22 | 0:30:24 | |
world, so tweet us your photos. | 0:30:24 | 0:30:25 | |
Or send them in via our website... | 0:30:28 | 0:30:31 | |
'From crimson red and buttery gold to deep racing greens, | 0:30:40 | 0:30:45 | |
'the landscape of East Sussex is awash with autumn colour. | 0:30:45 | 0:30:49 | |
'And it's an abundant time of year for those who know | 0:30:53 | 0:30:55 | |
'the secrets of harvesting the full spectrum of woodland treasures. | 0:30:55 | 0:31:00 | |
'The natural world is full of so many mysteries and secrets, | 0:31:00 | 0:31:03 | |
'and some of that, really, | 0:31:03 | 0:31:05 | |
'is revealed in our chemical processes of working with colour. | 0:31:05 | 0:31:09 | |
'As a forager, Fergus Drennan explores the landscape to make | 0:31:11 | 0:31:14 | |
'the most of wild resources. | 0:31:14 | 0:31:16 | |
'For the past two years, | 0:31:19 | 0:31:20 | |
'he's worked together with artist James Woods to produce | 0:31:20 | 0:31:23 | |
'a one-off book, a wild-food guide | 0:31:23 | 0:31:26 | |
'made entirely from foraged materials.' | 0:31:26 | 0:31:29 | |
At the start of the book, | 0:31:29 | 0:31:31 | |
the initial content's about how to make materials, so how to make a | 0:31:31 | 0:31:34 | |
book, which is kind of ironic, | 0:31:34 | 0:31:35 | |
how to make a book from a book made by hand. | 0:31:35 | 0:31:38 | |
'And to make pages for a book about foraging, you need mushrooms. | 0:31:39 | 0:31:43 | |
'Yes, that's right, mushrooms!' | 0:31:43 | 0:31:46 | |
When you're making paper with mushrooms, | 0:31:46 | 0:31:48 | |
it's such a kind of spontaneous exploration. | 0:31:48 | 0:31:51 | |
There aren't that kind of baggage of rules to work with. | 0:31:51 | 0:31:53 | |
It's really like playing, | 0:31:53 | 0:31:54 | |
but playing outside as, you know, we've done for millennia, | 0:31:54 | 0:31:57 | |
and that's when I think you really learn and you really connect | 0:31:57 | 0:32:01 | |
with a place, because you're enjoying it, you're having fun. | 0:32:01 | 0:32:04 | |
-I'll let you know if it hurts! -OK. -JAMES LAUGHS | 0:32:04 | 0:32:07 | |
Get nearer the tree, if you can. | 0:32:08 | 0:32:11 | |
'You can actually use fungi for making paints, for dyeing wool, | 0:32:11 | 0:32:14 | |
'for getting a whole range of natural colours.' | 0:32:14 | 0:32:17 | |
-FERGUS STRAINS -Got it! | 0:32:17 | 0:32:19 | |
'When foraging, it is important to always ask the landowner's | 0:32:21 | 0:32:24 | |
'permission and respect the Countryside Code.' | 0:32:24 | 0:32:27 | |
You know, there's the law on foraging | 0:32:27 | 0:32:29 | |
and how much you can take or whatever, | 0:32:29 | 0:32:31 | |
but, you know, very often, something like that is just so pretty, | 0:32:31 | 0:32:34 | |
it's so beautiful, that you just want to admire it and just leave it. | 0:32:34 | 0:32:37 | |
So although we're going to leave this mushroom here, | 0:32:37 | 0:32:39 | |
with this one you can make a yellow dye. | 0:32:39 | 0:32:41 | |
If you mix that with rusted iron, you can turn it into a green dye. | 0:32:41 | 0:32:45 | |
So you could illustrate this beautiful | 0:32:45 | 0:32:46 | |
picture of a mushroom here with the colour of the mushroom itself, | 0:32:46 | 0:32:50 | |
so using the mushroom itself to paint the mushroom. | 0:32:50 | 0:32:53 | |
-On a piece of mushroom! -LAUGHS | 0:32:53 | 0:32:55 | |
'Different times of year give you different colours within | 0:33:04 | 0:33:06 | |
'the same range of mushrooms. | 0:33:06 | 0:33:08 | |
'You could look into mixing pulps together, so you can mix a white | 0:33:12 | 0:33:15 | |
'pulp with a brown pulp, | 0:33:15 | 0:33:17 | |
'and in theory there's an unlimited amount of papers you could get. | 0:33:17 | 0:33:21 | |
'Once the paper's been made, | 0:33:23 | 0:33:25 | |
'it's time to transform plant extracts | 0:33:25 | 0:33:27 | |
'into paint, pigments and dyes.' | 0:33:27 | 0:33:30 | |
One of the interesting things about wood sorrel, | 0:33:30 | 0:33:33 | |
apart from the fact it makes a wonderful salad ingredient, | 0:33:33 | 0:33:36 | |
it's the oxalic acid in there which gives it its flavour. | 0:33:36 | 0:33:39 | |
But from a kind of artistic point of view, | 0:33:39 | 0:33:41 | |
when you're working with colours extracted from berries or things, | 0:33:41 | 0:33:45 | |
if you add acid you can get a whole different range of colours. | 0:33:45 | 0:33:48 | |
Usually, you'd think autumn colours would be your oranges and your | 0:33:52 | 0:33:55 | |
browns, but realistically, when it comes to dyeing | 0:33:55 | 0:33:58 | |
and paint making, the colours you can get are really vibrant. | 0:33:58 | 0:34:01 | |
You can get blues, pinks, reds. | 0:34:01 | 0:34:03 | |
Dried and powdered nettle leaf. | 0:34:05 | 0:34:08 | |
Blood-red webcap mushroom. | 0:34:08 | 0:34:10 | |
Dandelion flowers. | 0:34:10 | 0:34:12 | |
Weld leaves and flowers. | 0:34:12 | 0:34:14 | |
Sea buckthorn berries. | 0:34:15 | 0:34:17 | |
Red clay. | 0:34:17 | 0:34:19 | |
My mission in life is to just find really playful, | 0:34:24 | 0:34:28 | |
wonderful ways to connect and value the natural world, | 0:34:28 | 0:34:31 | |
and working with colours as well as forest food is just one really | 0:34:31 | 0:34:34 | |
fantastic way to do that. | 0:34:34 | 0:34:37 | |
'There is one colourful event in nature's calendar that's | 0:34:49 | 0:34:52 | |
'a true autumn spectacle.' | 0:34:52 | 0:34:54 | |
BELLOWS | 0:34:56 | 0:34:58 | |
'Deep in the woodlands, tensions and testosterone levels are rising.' | 0:34:58 | 0:35:04 | |
BELLOWS | 0:35:04 | 0:35:06 | |
'It's rutting season, and Adam's helping out at a deer farm in the | 0:35:06 | 0:35:10 | |
'Cotswolds, where the stags are | 0:35:10 | 0:35:12 | |
'about to have the shock of their lives.' | 0:35:12 | 0:35:14 | |
'I've been a farmer my whole life, and I've worked with some | 0:35:20 | 0:35:23 | |
'pretty dangerous animals, but today's a first for me. | 0:35:23 | 0:35:28 | |
'Deer are one of the least domesticated livestock, | 0:35:28 | 0:35:31 | |
'and generally they need little looking after, which is great... | 0:35:31 | 0:35:35 | |
'until they need handling. | 0:35:35 | 0:35:37 | |
'At this time of year, the stags are fuelled with aggression, | 0:35:38 | 0:35:41 | |
'and for our safety and theirs we plan to remove their antlers. | 0:35:41 | 0:35:46 | |
'Something tells me this isn't going to be easy. | 0:35:46 | 0:35:49 | |
'Richard Ward manages this herd and is on hand to tell me more.' | 0:35:49 | 0:35:54 | |
-So, an exciting day today. -It is. | 0:35:54 | 0:35:56 | |
Today is the beginning of the rut as far as we're concerned, | 0:35:56 | 0:35:58 | |
and especially as regards the stags are concerned. | 0:35:58 | 0:36:01 | |
The rut being the time | 0:36:01 | 0:36:02 | |
-when the stags go in and start mating with the hinds. -Exactly. | 0:36:02 | 0:36:06 | |
And so what's the process, then, to get him in with his ladies? | 0:36:06 | 0:36:09 | |
We need to remove his antlers before he can go in with his ladies. | 0:36:09 | 0:36:12 | |
The reason is that he's going to have 30 ladies to cope with but he knows | 0:36:12 | 0:36:17 | |
that his next-door neighbour's got another 30 to cope with, | 0:36:17 | 0:36:20 | |
and although he's got his 30, he'd far rather be with the other 30. | 0:36:20 | 0:36:23 | |
ADAM LAUGHS So it's best to remove his antlers. | 0:36:23 | 0:36:26 | |
Secondly, we have one or two footpaths that run through | 0:36:26 | 0:36:28 | |
the deer paddocks. | 0:36:28 | 0:36:30 | |
-That's another reason why we need to remove his antlers. -Yeah. | 0:36:30 | 0:36:33 | |
-Bambi is a home-bred, reared-in-my-garden stag! -"Bambi"? | 0:36:33 | 0:36:37 | |
He's very, very friendly, | 0:36:37 | 0:36:40 | |
which is why he is allowing us to get quite close to him today. | 0:36:40 | 0:36:43 | |
Normally, any other time of the year, | 0:36:43 | 0:36:45 | |
we could go up and cuddle him and he would be fine, but today he's got | 0:36:45 | 0:36:49 | |
other things on his mind, and thus we need to be a little bit careful. | 0:36:49 | 0:36:53 | |
So we're going to administer something that will knock him | 0:36:53 | 0:36:57 | |
out and allow us to remove his antlers. | 0:36:57 | 0:36:59 | |
While that's taking place, we'll make sure he's fit for purpose. | 0:36:59 | 0:37:04 | |
Once we've removed his antlers, we'll put him in the back | 0:37:04 | 0:37:07 | |
of a trailer behind the quad bike and take him to his respective wives. | 0:37:07 | 0:37:11 | |
-Oh, there we go. So, that's gone in now, has it? -Yeah. | 0:37:13 | 0:37:16 | |
So now we wait a few minutes for the drugs to take effect, | 0:37:16 | 0:37:20 | |
and eventually he will just go to sleep. | 0:37:20 | 0:37:23 | |
'Just ten minutes later, with a little bit of persuasion, | 0:37:24 | 0:37:28 | |
'Bambi nods off.' | 0:37:28 | 0:37:29 | |
-That's it. -That's it. -Perfect. | 0:37:30 | 0:37:34 | |
Just putting a towel over his eye | 0:37:34 | 0:37:35 | |
so that he doesn't get any of the shavings in his eye. | 0:37:35 | 0:37:39 | |
-So no blood or nerves in the antler? -No, no. | 0:37:39 | 0:37:43 | |
Antler's the fastest-growing bone material we know of. | 0:37:43 | 0:37:47 | |
-I mean, look there. Nothing at all. -No. -OK? | 0:37:47 | 0:37:51 | |
Right, let's try and do the other side. | 0:37:51 | 0:37:53 | |
-That's a serious antler, isn't it? -Do you want his head the other way? | 0:37:53 | 0:37:56 | |
-Indeed. -Let him down. -Oh, he's standing up. | 0:37:56 | 0:38:00 | |
'For a moment, I thought he was waking up, | 0:38:00 | 0:38:02 | |
'but in no time he settles back down and the second antler is removed. | 0:38:02 | 0:38:07 | |
'And believe it or not, this is just 12 months' growth.' | 0:38:07 | 0:38:11 | |
That's quite a weight there. Incredible. | 0:38:11 | 0:38:13 | |
'Growing up to an inch a day during peak season, | 0:38:14 | 0:38:17 | |
'cutting the antlers back is an annual task.' | 0:38:17 | 0:38:20 | |
So he's ready to go, is he? | 0:38:20 | 0:38:21 | |
He is. Let's get him loaded on the trailer and take him to his wives. | 0:38:21 | 0:38:26 | |
-C'mon, fella. -OK? | 0:38:26 | 0:38:28 | |
-Watch that. OK? -OK. | 0:38:29 | 0:38:32 | |
-How heavy is he? -He's about 200, 250 kilos. | 0:38:35 | 0:38:38 | |
-It's a fair weight, a quarter of a tonne. -Yeah. | 0:38:38 | 0:38:41 | |
'A short trip to a neighbouring field, | 0:38:46 | 0:38:49 | |
'where Bambi will soon have the pick of the ladies. | 0:38:49 | 0:38:52 | |
'The antidote is administered, | 0:38:53 | 0:38:55 | |
'and immediately he starts to come round.' | 0:38:55 | 0:38:57 | |
OK. | 0:38:59 | 0:39:00 | |
So, his hinds are waiting for him just over there. | 0:39:01 | 0:39:04 | |
He'll wake up fairly quickly now. | 0:39:04 | 0:39:07 | |
And either they will come to him or he will go to them, | 0:39:07 | 0:39:09 | |
but it won't take long. | 0:39:09 | 0:39:10 | |
Quite exciting. More exciting for him or you? | 0:39:10 | 0:39:13 | |
Erm, I think probably for him. ADAM LAUGHS | 0:39:13 | 0:39:17 | |
Well, it's a very quick process. | 0:39:17 | 0:39:19 | |
I thought it would be more stressful than it is, actually. | 0:39:19 | 0:39:21 | |
No, very stress-free. | 0:39:21 | 0:39:23 | |
He knows that he has to go through this before he's allowed to be | 0:39:23 | 0:39:27 | |
-with his ladies, so he's quite used to it. -Yeah. | 0:39:27 | 0:39:30 | |
'That was relatively straightforward, | 0:39:33 | 0:39:35 | |
'but I've been told the next | 0:39:35 | 0:39:36 | |
'stag could be a bit of a handful, so we need to keep our distance. | 0:39:36 | 0:39:40 | |
'And that's why we need Dave with his dart gun.' | 0:39:41 | 0:39:44 | |
So, the deer are now in this handling system, but they need to be | 0:39:44 | 0:39:48 | |
darted, so Dave is going to shoot the dart into the deer, hopefully. | 0:39:48 | 0:39:54 | |
So, where do you aim at, Dave? | 0:39:54 | 0:39:56 | |
I'm going to aim for the top of the front shoulder towards | 0:39:56 | 0:40:00 | |
the neck there. As long as it goes into a muscle. | 0:40:00 | 0:40:03 | |
SHOT | 0:40:08 | 0:40:10 | |
Well, it was a good shot, Dave. He didn't even flinch when it went in. | 0:40:17 | 0:40:21 | |
No. No, he didn't. Every animal | 0:40:21 | 0:40:22 | |
reacts differently to the darting situation. | 0:40:22 | 0:40:25 | |
He looks fairly wound up there, actually, doesn't he? | 0:40:25 | 0:40:28 | |
He's very, very wound up, I think, | 0:40:28 | 0:40:30 | |
through being brought into this small enclosure. | 0:40:30 | 0:40:34 | |
-He's full of adrenaline. -Yeah. Yeah. | 0:40:34 | 0:40:36 | |
-What a handsome-looking fella, isn't he? -He is, isn't he? | 0:40:36 | 0:40:39 | |
'We wait and wait. | 0:40:42 | 0:40:44 | |
'But this stag is determined to fight the drugs. | 0:40:45 | 0:40:49 | |
'It's a good 15 minutes before he succumbs.' | 0:40:49 | 0:40:51 | |
So, this stag has now gone down, but there's a chance | 0:40:52 | 0:40:55 | |
he might jump back up again, so we're just hanging back a bit. | 0:40:55 | 0:40:59 | |
OK. | 0:40:59 | 0:41:02 | |
Dart's nice and clean. | 0:41:02 | 0:41:04 | |
OK... | 0:41:04 | 0:41:05 | |
Look out. Look out. Just retreat. | 0:41:06 | 0:41:09 | |
Give him a few more minutes. | 0:41:12 | 0:41:14 | |
So, the stag has jumped back up on his feet | 0:41:19 | 0:41:22 | |
and needs a bit of a top-up, so Dave's just going to lance him with | 0:41:22 | 0:41:27 | |
this now just to give him a little bit more drug to make him sleepy. | 0:41:27 | 0:41:33 | |
Here we are, Dave. | 0:41:33 | 0:41:35 | |
Right, he's just jumped up. I'll just back off. | 0:41:41 | 0:41:43 | |
We can retreat out of the door, but he's all right, he's stopped now. | 0:41:43 | 0:41:47 | |
A bit nerve-racking! | 0:41:49 | 0:41:51 | |
'Thankfully, the second dose starts | 0:41:53 | 0:41:56 | |
'to take effect in a matter of minutes.' | 0:41:56 | 0:41:58 | |
Come on, fella, lie down, and you'll | 0:41:58 | 0:42:00 | |
wake up amongst some beautiful hinds. | 0:42:00 | 0:42:02 | |
So, the team are now moving in just to make sure he's fully asleep | 0:42:05 | 0:42:10 | |
and to remove his antlers. | 0:42:10 | 0:42:13 | |
-That's what we want, a nice, clean cut, no jagged edges. -Yeah. -Perfect! | 0:42:15 | 0:42:19 | |
'The guys work incredibly quickly, | 0:42:22 | 0:42:23 | |
'and in no time at all both antlers are removed.' | 0:42:23 | 0:42:27 | |
Good. | 0:42:27 | 0:42:29 | |
Although people might think this looks cruel, | 0:42:29 | 0:42:31 | |
the animal has been darted with a sedative and is just asleep. | 0:42:31 | 0:42:34 | |
Cutting off antlers doesn't hurt. It's like clipping your toenails. | 0:42:34 | 0:42:38 | |
And it's essential that it's done so that the deer don't | 0:42:38 | 0:42:41 | |
hurt each other or hurt the people working with them. | 0:42:41 | 0:42:44 | |
And this happens on deer farms all over the country. | 0:42:44 | 0:42:47 | |
'The stag is now ready to be taken to his ladies.' | 0:42:50 | 0:42:54 | |
-That's the wormer, is it? -No, that's the antidote. That's the revival. | 0:42:54 | 0:42:58 | |
Oh, that's the revival! That's the antidote. | 0:42:58 | 0:43:01 | |
'With the antidote already given, there's no time to hang around.' | 0:43:01 | 0:43:05 | |
He's almost too long for the trailer! | 0:43:05 | 0:43:07 | |
-Right. -Good. Let him be. | 0:43:25 | 0:43:26 | |
-There's a good boy. -He'll be up in a minute. There we go! | 0:43:27 | 0:43:30 | |
-Well, he was up quick, Richard. -He was. | 0:43:32 | 0:43:34 | |
He knows what he's here for, and that'll help wake him up, no doubt! | 0:43:34 | 0:43:38 | |
ADAM LAUGHS | 0:43:38 | 0:43:39 | |
-And how long does the rut go on for? -Towards the end of November. -Yeah. | 0:43:39 | 0:43:44 | |
Otherwise, the calves will be born too late | 0:43:44 | 0:43:46 | |
and won't have much of a chance of surviving the following winter. | 0:43:46 | 0:43:49 | |
OK. | 0:43:49 | 0:43:50 | |
'We're going to give this chap a bit of space to recover. | 0:43:50 | 0:43:53 | |
'And we'll see how Bambi, the first and friendlier stag, is getting on.' | 0:43:53 | 0:43:58 | |
BELLOWS | 0:43:58 | 0:44:00 | |
Bambi's woken up. Looking for his wives already. | 0:44:03 | 0:44:06 | |
And all this roaring, is that to sort of warn off other stags? | 0:44:06 | 0:44:09 | |
No, that's to let all his hinds know that he's about | 0:44:09 | 0:44:13 | |
and he's ready for them. ADAM LAUGHS | 0:44:13 | 0:44:15 | |
"I'm here and present"! | 0:44:15 | 0:44:16 | |
What better autumn statement could you have than | 0:44:16 | 0:44:19 | |
a stag at the beginning of the rut? | 0:44:19 | 0:44:21 | |
BELLOWS | 0:44:22 | 0:44:24 | |
'I'm in Kent, looking at the changing face of England's orchards.' | 0:44:36 | 0:44:40 | |
Modern science has breathed life into the roots of these bursting | 0:44:43 | 0:44:47 | |
orchards, and here on this farm, the latest technology | 0:44:47 | 0:44:50 | |
is ensuring that the perfect apple makes its way into your fruit bowl. | 0:44:50 | 0:44:55 | |
MUSIC: The Robots by the Balanescu Quartet | 0:44:55 | 0:44:57 | |
'The fruit harvested here is still hand-picked the old-fashioned way.' | 0:45:00 | 0:45:05 | |
These apples were picked this morning. | 0:45:05 | 0:45:07 | |
These were in the orchard two or three hours ago | 0:45:07 | 0:45:09 | |
and now they're in our cold store. | 0:45:09 | 0:45:11 | |
'But the machinery used to store the apples is far from traditional.' | 0:45:11 | 0:45:15 | |
-This is the very latest, state-of-the-art technology. -Right. | 0:45:15 | 0:45:18 | |
So, what we're doing here is we're storing apples at five and one, | 0:45:18 | 0:45:22 | |
so 5% CO2, 1% oxygen, and we bring the gas regime down. | 0:45:22 | 0:45:28 | |
The apple will become stressed at some point, | 0:45:28 | 0:45:30 | |
the colour of the skin will change. You and I won't see it, Matt. | 0:45:30 | 0:45:34 | |
We just won't physically be able to see it, but that sensor will see it. | 0:45:34 | 0:45:37 | |
-Yeah. -When the fruit is stressed, | 0:45:37 | 0:45:39 | |
we just back the regime off a little bit so the apple's comfortable. | 0:45:39 | 0:45:43 | |
-I see. -They're fast asleep. | 0:45:43 | 0:45:44 | |
So, the stressed state, then, | 0:45:44 | 0:45:46 | |
is that what prolongs how long you can store it for? | 0:45:46 | 0:45:49 | |
It prolongs how long we can store it for. | 0:45:49 | 0:45:51 | |
Now, obviously, apples only grow at a certain time, so this really | 0:45:51 | 0:45:55 | |
is the key to the business, isn't it, how long you can store them for? | 0:45:55 | 0:45:58 | |
This is absolutely the key. | 0:45:58 | 0:45:59 | |
Consumers want to eat apples 12 months of the year. | 0:45:59 | 0:46:02 | |
We can grow them and harvest them. | 0:46:02 | 0:46:05 | |
If we can extend the storage life with these processes, | 0:46:05 | 0:46:08 | |
then we can deliver them 12 months of the year to the consumer. | 0:46:08 | 0:46:11 | |
'This equipment ensures the apples are kept in perfect | 0:46:16 | 0:46:19 | |
'condition for a long winter nap. | 0:46:19 | 0:46:21 | |
'Once they reach the pack house, yet more gadgetry sifts, | 0:46:21 | 0:46:24 | |
'sorts and scrutinises the fruits. | 0:46:24 | 0:46:27 | |
'These are the most advanced fruit-grading | 0:46:45 | 0:46:47 | |
'machines in the country. | 0:46:47 | 0:46:50 | |
'The level of detail this technology is capable of is just extraordinary.' | 0:46:50 | 0:46:54 | |
Well, this is mightily impressive, for starters, | 0:47:06 | 0:47:09 | |
but just talk us through what's happening here, James. | 0:47:09 | 0:47:13 | |
What we've got here is a robot that scans the bin when it arrives | 0:47:13 | 0:47:16 | |
so it knows the size of the bin, and then it's filling this | 0:47:16 | 0:47:20 | |
flotation tank to move the apples forward | 0:47:20 | 0:47:22 | |
and on to the sorting process. | 0:47:22 | 0:47:25 | |
MATT LAUGHS | 0:47:25 | 0:47:27 | |
It's the ultimate kind of apple bobbing tray, this! | 0:47:27 | 0:47:30 | |
Yeah. | 0:47:30 | 0:47:31 | |
And then on this first sorting table, | 0:47:31 | 0:47:33 | |
this is the only part of the process that has a human element. | 0:47:33 | 0:47:36 | |
I was going to say, there's a human, for goodness' sake! There's a human! | 0:47:36 | 0:47:39 | |
She's just making sure that every leaf is removed. | 0:47:39 | 0:47:43 | |
And then we're flowing into what we call our "first clean tank". | 0:47:43 | 0:47:46 | |
What we're trying to do with this section of the machine is | 0:47:55 | 0:47:58 | |
to separate the fruit out | 0:47:58 | 0:48:00 | |
so that we can look at each individual apple before we move | 0:48:00 | 0:48:03 | |
under these brushes and then through and under the cameras. | 0:48:03 | 0:48:08 | |
-Under the cameras? -Under the cameras. -Right, lead the way! | 0:48:08 | 0:48:11 | |
-So, is this the camera? -Absolutely. -Wow. | 0:48:11 | 0:48:15 | |
-And under this piece of equipment, we're shining infrared light. -Right. | 0:48:15 | 0:48:20 | |
We monitor the wavelength in and we measure the wavelength | 0:48:20 | 0:48:23 | |
out of the apple and the difference. | 0:48:23 | 0:48:25 | |
We can then tell you whether that apple is good inside | 0:48:25 | 0:48:29 | |
or whether it's rotten inside or discoloured | 0:48:29 | 0:48:32 | |
so we can take those apples out of the system altogether. | 0:48:32 | 0:48:35 | |
Goodness me! | 0:48:35 | 0:48:36 | |
Then we have to look at the external quality of the apple, | 0:48:36 | 0:48:39 | |
the size and the shape and the colour, | 0:48:39 | 0:48:41 | |
as well as any marks or any blemishes that are on the fruit. | 0:48:41 | 0:48:44 | |
And that's being done in this machine here. | 0:48:44 | 0:48:47 | |
Under here we have cameras taking between 16 | 0:48:47 | 0:48:50 | |
-and 20 pictures of every apple... -At that speed?! -..per second, | 0:48:50 | 0:48:57 | |
20 pictures per second of each individual apple. | 0:48:57 | 0:49:01 | |
We can then decide whether that's a class one or a class two apple, | 0:49:01 | 0:49:04 | |
-and we can see that on the screen. -I've just caught a glimpse of that. | 0:49:04 | 0:49:07 | |
So, is this a line of apples or is this one apple? | 0:49:07 | 0:49:10 | |
This is one apple. And you can see the marks on those apples have been | 0:49:10 | 0:49:14 | |
identified by the software. | 0:49:14 | 0:49:16 | |
-And so it goes into a certain pack or grade. -I see. | 0:49:16 | 0:49:20 | |
And just a reminder, then, | 0:49:20 | 0:49:21 | |
how many apples are actually coming from the orchards out there? | 0:49:21 | 0:49:24 | |
Well, we'll bring 120 to 130 million apples into this facility | 0:49:24 | 0:49:29 | |
and run them over this machine. | 0:49:29 | 0:49:31 | |
-It's mind-blowing, isn't it? -It's... | 0:49:31 | 0:49:33 | |
Yes, it takes a little while to get your head around it. | 0:49:33 | 0:49:36 | |
I mean, when you look down, you just see how uniform they are, don't you? | 0:49:44 | 0:49:48 | |
Yeah, very much, and here we've got one that we've taken out. | 0:49:48 | 0:49:52 | |
There's not enough colour on that fruit for any of our customer packs. | 0:49:52 | 0:49:57 | |
But are you making a rod for your own back here | 0:49:57 | 0:50:00 | |
from a consumer's perspective? I mean, I like a characterful apple. | 0:50:00 | 0:50:03 | |
-I don't mind that my apples aren't uniform. -Absolutely. | 0:50:03 | 0:50:06 | |
But, you know, if consumers get used to getting a pack of six apples | 0:50:06 | 0:50:09 | |
and every single one looks the same, are you creating an issue there | 0:50:09 | 0:50:12 | |
when things aren't quite right? | 0:50:12 | 0:50:15 | |
From our perspective, we can grow a really good-quality apple. | 0:50:15 | 0:50:20 | |
And a good-quality apple, graded uniformly, | 0:50:20 | 0:50:22 | |
like we're doing here, makes our whole process quicker, | 0:50:22 | 0:50:25 | |
more efficient, so we can deliver to the consumer at a much more | 0:50:25 | 0:50:29 | |
economic price, let's say. | 0:50:29 | 0:50:31 | |
I think this is the most impressive robotics | 0:50:33 | 0:50:36 | |
and technology that I've ever seen in agriculture. | 0:50:36 | 0:50:39 | |
It's right at the forefront. This is cutting-edge. | 0:50:39 | 0:50:42 | |
'With the arrival of autumn, nature opens her treasure | 0:51:12 | 0:51:15 | |
'chest of colour, festooning the landscape in gold and ruby hues. | 0:51:15 | 0:51:19 | |
'I'm in Faskally Woods in the heart of Perthshire's Big Tree Country, | 0:51:23 | 0:51:27 | |
'a place that's world-famous | 0:51:27 | 0:51:29 | |
'for the beauty of the turning leaves.' | 0:51:29 | 0:51:31 | |
As if nature's fireworks weren't dramatic enough on their own, | 0:51:36 | 0:51:40 | |
these woods play host to a seasonal event that's even more spectacular. | 0:51:40 | 0:51:45 | |
By night, Faskally is transformed into an enchanted forest, | 0:51:46 | 0:51:50 | |
the trees surrounding its loch illuminated by displays | 0:51:50 | 0:51:54 | |
of coloured lights, all set to music. | 0:51:54 | 0:51:57 | |
'Karen is one of the trustees.' | 0:52:02 | 0:52:05 | |
Last-minute preparations? | 0:52:05 | 0:52:06 | |
-Absolutely, yes. -So, how long has it taken to get to this stage, then? | 0:52:06 | 0:52:10 | |
We've been preparing since the day it finished last year, to be honest. | 0:52:10 | 0:52:13 | |
What's the idea behind it all? | 0:52:13 | 0:52:14 | |
It was originally to get people out of the cities | 0:52:14 | 0:52:17 | |
and towns into the forest. | 0:52:17 | 0:52:19 | |
We had about 2,000 people, I think it was, in 2002, | 0:52:19 | 0:52:22 | |
and this year we're expecting over 55,000. | 0:52:22 | 0:52:24 | |
Wouldn't this work at any time of year? Why do you do it in autumn? | 0:52:24 | 0:52:27 | |
The leaves look so much better, the colours look better in the autumn. | 0:52:27 | 0:52:31 | |
-I can't wait for it to get dark now! -KAREN LAUGHS | 0:52:31 | 0:52:33 | |
'The paler leaves create a better | 0:52:36 | 0:52:38 | |
'canvas for reflecting the light show. | 0:52:38 | 0:52:41 | |
'But before it gets dark, I'm heading out onto the loch to check | 0:52:41 | 0:52:44 | |
'one of the centrepieces for tonight's display.' | 0:52:44 | 0:52:47 | |
Ahhh! A rowing boat! | 0:52:47 | 0:52:49 | |
How charming! | 0:52:50 | 0:52:52 | |
-Hello! -Hello. | 0:52:52 | 0:52:53 | |
'Dave is the man with the oars.' | 0:52:53 | 0:52:55 | |
OK, this is Ellie. We are ready for you to give it a try. | 0:53:06 | 0:53:09 | |
Ooh! | 0:53:10 | 0:53:12 | |
Hey! | 0:53:12 | 0:53:14 | |
It's definitely working! It looks amazing! | 0:53:14 | 0:53:17 | |
Look at that! | 0:53:19 | 0:53:21 | |
-SHE LAUGHS DELIGHTEDLY -That looks awesome. | 0:53:21 | 0:53:23 | |
That really does look good. | 0:53:27 | 0:53:29 | |
'With the fountains in good working order, | 0:53:36 | 0:53:38 | |
'it's back to dry land for me to prepare for the big switch-on.' | 0:53:38 | 0:53:41 | |
Look, I've been allowed backstage. | 0:53:43 | 0:53:46 | |
This is the nerve centre for the whole operation. | 0:53:46 | 0:53:49 | |
The generator's whirring away, | 0:53:49 | 0:53:50 | |
creating enough power for more than 700 lights. | 0:53:50 | 0:53:54 | |
And although it's still daylight, this is when the lights go on, | 0:53:54 | 0:53:57 | |
to have them warmed up and ready for the big show. | 0:53:57 | 0:53:59 | |
And guess who's been invited for the switch-on! | 0:53:59 | 0:54:02 | |
Ah, I was expecting a big, red button! Where do I press? | 0:54:02 | 0:54:05 | |
You just do a single mouse click on that big Go button there. | 0:54:05 | 0:54:08 | |
OK, ready, steady, three, two, one... | 0:54:08 | 0:54:10 | |
MUSIC: The Gospel Of John Hurt by Alt-J | 0:54:10 | 0:54:13 | |
'As darkness falls, the Enchanted Forest works its magic | 0:54:21 | 0:54:24 | |
'and transforms these woods into another world.' | 0:54:24 | 0:54:28 | |
Well, I certainly didn't think that natural autumn colour could be | 0:54:52 | 0:54:55 | |
improved upon, but this is something quite remarkable. | 0:54:55 | 0:54:58 | |
It's so atmospheric | 0:54:58 | 0:55:00 | |
and a great way to end our celebration of autumn colour. | 0:55:00 | 0:55:04 | |
Join us next week, when we'll be | 0:55:04 | 0:55:05 | |
exploring North Wales. | 0:55:05 | 0:55:07 | |
See you then. Bye-bye. | 0:55:07 | 0:55:08 |