have trump and his administration have stepped up their attacks on what they've called fake media. the white house barred several media outlets, including the bbc, from off camera press meetings. iraqi forces have moved into western mosul as they intensify their battle to drive so—called islamic state from their last major stronghold in iraq. the militants are responding with mortars and sniper fire. police in malaysia said a substance used to kill the half brother of north korean leader at kuala lumpur airport is one of the world's deadliest nerve agents. authorities say the test on the body of kim jong—nam revealed traces of biopsy, which is classified by the un as a weapon of mass destruction. —— classified as vx. in about ten minutes we will have newswatch. now it is time for click. from blue screen jungles test —— the

strange explorations of time, we've been exploring all. things and this week is no exception. directed by gareth edwards, the visual genius behind monsters and godzilla, rogue one has earned over $1 billion at the worldwide box office and has, unsurprisingly, been nominated for an oscar in visual effects. edwards worked with the team at industrial lights and magic to recreate that galaxy far, far away and, as we found out when we visited their london office, they provided some very cool kit to help facilitate his unique directing style. so he's a very hands—on filmmaker.

he likes to walk around his sets and physically pick up the camera himself and walk around and find interesting angles that might not have occurred to him when he was planning out so we used a real—time virtual reality system, and therefore he can show us rather than explain to us. and this is it? this is it. this is what we call our vcam renderer. can ijust point out, it's an ipad with a vive controller stuck on the back! so you're using existing technology? exactly. and we can set it up relatively easily and quickly. and is this where he did these scenes, in this room? this is where he shot his virtual camera work. so this is a scene that was actually set up for the trailer, the first trailer for rogue one.

you have this scene running and he would just walk around and decide on his best angles and then after that you would tidy up the take that he wanted? the idea wasn't that he would be getting perfectly smooth, composed camera moves, but he was able to sort of show to us, the beginning of the shot, i want it here, the end of the shot, i want it here. we could then publish this through our pipeline software, and then it could be immediately picked up by animators and lighting tds. we shot this with gareth in london, we then pushed it into our pipeline, it was then picked up by people in san francisco and the take was ready for him to review the next morning. may i have a go? absolutely. sojust...yeah. so the animation in this scene is the dish of the death star. oh, look, you can see behind the dish! so i can get a different shot to gareth if i want it? if i find a better shot, do i get a job?

laughs waiting for an answer... look at that! it's the dish going to the death star. so, here, we're following x—wing as it makes its approach run towards the shield gate. we can just move around and frame up on camera moves and follow the ship in, move in front of the ship. this film is set near minutes before the very first film, and so getting these computer generated models to look exactly like the physical models from 1977 was, i guess, vital, wasn't it? our friends and colleagues in san francisco took digital scans of the original models

from the art department, and they had lots of texture references, and thankfully just recreated them so that there wouldn't be any jarring differences between these ships and the ships in new hope. we have teams of people who are responsible for laying out camera moves, we have teams of people who are building digital models, texturing digital models. we've got a fantastic team of animators and then we've got a great team of compositors, who take all of the renders that we generate and put it all together with the footage and integrate it into hopefully photorealistic results. so this model here, ofjedha, is that completely full detail, so you can move the camera to anywhere? we had a camera that rotated around on its own axis and we moved it

randomly around the city and ended up with hundreds of views. so many of them were just fascinating in what they ended up finding. because typically, if you're given a shot to lay out, you'll start dressing everything to the camera. so you'll start laying out buildings that stack away from the camera and, typically with lighting, you would start with back lighting at three quarters, from one direction. but what we found was that, because none of those considerations have been taken, you just end up with occasionally finding views that are so natural, so the lighting mightjust be illuminating one half of a wall in the background, for example, or none of the roads are perpendicular to the camera and they're all going off at weird angles. so that was really successful and we ended up using a lot of those views as the background in a lot of our blue screen shoots. you're all rebels, aren't you? save the dream! hello and welcome

to the week in tech. it was the week that uber found itself under fire after a former employee accused the company of sexual harassment in a blog post. uber responded, saying it would conduct an urgent investigation into the claims which it called abhorrent and against everything uber stands for and believes in. it was also the week that youtube announced it would get rid of unskippable ads in 2018. scientists at mit showed off a special coating making it easier to get ketchup out of the bottle. and astronomers have detected seven ea rth—sized planets orbiting a single star. and, yes, before you ask, three of them may have conditions to support life. and finally, researchers at brigham young university have shown off an origami—inspired light

weight bullet—proof shield. the barrier is made up of 12 layers of bullet—proof kevlar and weighs only 55 pounds. how many faces can you see in this picture? did you see that? this is a persistence of vision display. you can only see it when your eyes, or in our case the camera, move left or right. we've slowed right down so you can really feast on... ..uh...myface. so, a persistence of vision display is predicated upon the persistence of vision phenomenon, which is an effect in the human eye. and it's the effect where when you look at any bright light and you look away you see a ghost of that bright light for a moment. so what happens is our display takes a standard two—dimensional image

and it breaks it up into vertical columns of pixel data. this single vertical line of light blinks out each column sequentially, so column one, two, three, until it gets to the end of the image and then starts over. so as your eye looks away from the display, it prints each column in your retina in a different location and the whole image is reassembled in your eye. moving strips of super fast flashing leds have painted pictures or text in the air for a couple of decades now, but lightvert relies on our eyes to do the moving instead. something they are naturally doing all the time. for what purpose? well, enormous adverts, for a start. we've created a new type of projection technique for creating persistence of vision displays and we patented that globally and what that lets us do is scale up the size of the display massively. so, with leds and other light sources, it becomes challenging to create a display that's more

than say three metres tall. but with our echo technology we can create a display that's up to 200 metres tall, effectively turning entire skyscrapers into the world's biggest image machines. and that's why if you've been walking down a particular street in berlin last monday, you might have seen my face out of the corner of your eye. do you think this is safe? do you think this is too distracting for drivers, for example? it's very important that we introduce it in the right way and it's not going to be for every location. i certainly wouldn't want to introduce this medium next to a motorway. we need people to understand it and, much like when led billboards first came into the public realm, they were very distracting and there was legislation instantly put in place in order to prevent distraction from drivers. we're going to have to travel a similar path. and that's not the only eye—catching projection i've seen this week. ahead of next week's mobile world congress in barcelona,

i've also managed to get a sneak preview of the future of mobile devices. kind of. it's the latest version of sony's xperia projector. it's an android—based device that throws a touch sensitive display onto a table or a wall. it has all the touchscreen functionality of a tablet, including pinch and zoom, with your finger‘s positions being watched by a camera under the projector and a row of infrared sensors at table level to detect when you've actually touched the surface. we are heading towards a world where our devices will be so small that we won't want a screen or a keyboard or any kind of input device attached to them and i see this as one of the solutions. you just have a display when you want it, on whatever surface is around. that's it for the shortcut of click

this week. full version of the iplayer right now and we also live on twitter. thanks for watching and see you soon. “— on twitter. thanks for watching and see you soon. —— the full version is on iplayer. hello there and welcome to newswatch with me, samira ahmed. on this programme, is bbc news doing deals with celebrities? she gets to talk about her new film, they get to ask about the divorce. it was a very difficult time, and, we are a family. and we will always be a family. but first, as stormed doris battered many parts of the uk on thursday, it could only mean one thing for bbc reporters,

you know what is coming next. here's alison freeman. we saw you earlier almost unable to stand up, it doesn't look much better now? it isn't, rita, we have just watched this storm unfold throughout the morning, as the wind has become more and more powerful. it is so strong at the moment i can't look into it, and the foam that has been blown from the sea is a bit more like being in a blizzard. but was that piece of broadcasting on location necessary, wise or safe? carolj left us this message. i'm sure that the bbc will say that we do not put our reporters in danger and that she is ok. not everyone, however, may be as responsible. i use that term lightly as the bbc. they may think, let's go and stand on blackpool seafront, and they get blown over

and hurt even worse — hurt or killed and will the bbc take responsibility? there is no need to have that woman standing in that position, encouraging others to think it is ok because it isn't. newspeak is radio one's news service targeting 16 to 29—year—olds, stories on ordinary members of the public doing something on social media that quickly get picked up and printed widely. this week it is a story about a 20—year—old american student called nick who graded and critiqued a break—up letter from an ex—girlfriend — he posted it on social media where it went viral. newspeak republished his tweet showing the letter. a number of people complained about the invasion of a young woman's privacy, including somebody who said it was aiding the online harassment of a young person. and the bbc had published it purely for entertainment. well we asked newsbeat for a response and this

is what they told us: