hello you're watching bbc news. the latest headlines: there is concern that the brexit negotiations could be harder after discussions about the irish border and the protection of eu citizen's writes. palestinians have held protests in 30 towns and cities in the ghazi stripped and in protest of the ghazi stripped and in protest of the your decision to recognise jerusalem as the israeli capital. and donald trump has declared a state of emergency in the state of california, where wildfires have destroyed hundreds of buildings. three firefighters have been injured and about 500 buildings destroyed. almost 200,000 people have been displaced. coming up in around ten minutes's time, it is news watch, but now it is time for click. today we are in manchester,

at the children's global media summit, a meeting of those who make the content that our children will be watching in the coming years. it's an event with some very important speakers. parents, like catherine and me, are raising the first generation of digitally immersed children. and this gives us many reasons to be optimistic about the impact of technology on childhood. and before the duke of cambridge gave his speech to the audience, i managed to grab a quick interview with one of the most talked about couples in the country. so how are you finding the conference so far? because, to be honest, my kids get more about the staff

of the furcherster hotel than at the powers that be, behind the scenes. but the discussions taking place here will shape the type of content that children will watch in the future and how content providers will meet the expectations of the next generation of viewers. now, if you want to know what children are up to, why not ask them? kids insight runs anonymous questionnaires for 400 kids every week to gather data about the latest trends, hottest new characters, and online habits. because, of course, it's not all about what kids need — there is a big industry that wants to make money, here, and target those young minds with messages and merchandise. we do find surprising the amount of children that are viewing youtube without any parental guidance or oversight. we find it's probably about a third, maybe less than a third of under tens,

their parents aren't monitoring what they are watching on youtube at all. and that's also a theme here: how to protect children from harmful content and stop them being exploited by the increasingly personal, interactive, and immersive technologies that they're using. it's a massive concern for many parents, but there are moves to try and make children more savvy about online safety, as lara lewington found out when she went back to school. the opportunity for kids to access information and learn has never been bigger. but with that comes a challenge. the threats online are clear to see. but an increasing number of children are becoming aware of the dangers and how to steer clear. never click on a link in an e—mail unless you are absolutely sure who it is from. basically, these are how many attackers are coming in 'cause the firewall is off.

this week an investigation into paedophiles using live streaming apps led to nearly 200 arrests, including teachers, medics, and law enforcers. a batch of leading brands suspended advertising from youtube after suspect comments remained beside videos featuring children. this is not long after the site hit the headlines when its algorithms were found to be pulling inappropriate content into its kids app, which was then viewed by children. of course, the company protests it does all they can. age restricting content in the main app as well is aiming to protect those using youtube kids altogether. in light of the most recent issues, it's also adding an extra 10,000 moderators to act alongside the software, aiming to keep kids safe. but with such a wealth of information out there, who can actually be held accountable for what is published? first and foremost, the tech companies themselves need

to be held accountable. and i mean at the ceo level. all of these platforms have an enormous responsibility to the kids and families in their audience, ‘cause they're making billions of dollars off of them. second, we also need to see some kind of regulation that 0fcom or others could provide that would say this is appropriate or not on these platforms. because if you think that tech companies will self—regulate, then you are kidding yourself. but at the same time the benefits of this sort of online access can't be ignored. here at this central london school, pupils are taking part in idea, the digital and enterprise version of the duke of edinburgh award. what are you up to? i am doing a safety badge. the challenges are open and free to all ages, even adults, to provide real life skills. and they can be done anywhere, any time. the pupils are covering a range

of subjects, including creating virtual reality, the importance of colour in photography... it's, in essence, the different types of colours. if you want to get an eerie retro feel, you'd reduce the hue and saturation. ..as well as some of the more serious issues surrounding safety online. what are the main things you feel you have come away from this so far having learned? for all my devices i used to put the same password. so if the hackers knew one of my passwords they would be able to get anything. so i learned that and i tried to change my passwords for everything, even the school website. so i am just going to carry on with the badge. it is not just about whether or not you have done gcse computer science, it is about can you actually manipulate or apply the knowledge? so what we're trying to do it in such a way that they have the opportunity of learning at themselves, was at the centre making them aware

of the dangers and pitfalls that we all see on a daily basis. over 100,000 of these bronze awards have been achieved. the silver to be released next april. and in a world where fake news has dominated the headlines, targeting us on what to think or buy, there will be a category called critical thinking, focusing on just that. it will teach the importance of how to substantiate, verify, and trust sources. and at the children's global media summit, the bbc also announced a scheme teaching how to avoid fake news. but the real news right now is that while there may still be a way to go for things to be totally safe online, kids are becoming more aware and maybe at some point soon will be the ones educating the grown—ups. you see, it is... how can you see, it is so small. yes, i have finished the badge. well done. how are you feeling? woohoo! here is a nice little

ar app for kids. you download and print off your favourite character from cbeebies, colour it in however you like, and then you pick up your tablets, and look. there is the duck. you can draw other characters, as well. for example, here is my favourite, who has the power and the speed, and she zooms away. not that i'm a fan or anything. and, from some pretty decent visual effects there, to some absolutely top—of—the—range visual effects now, in the form of one of the biggest films of the year, paddington 2. don'tjust take my word for it. ask rotten tomatoes, where it scored 100%. we sat down with the man who is responsible for bringing paddington from peru to the big

screen, for a world—exclusive look at how he did it. parents, spoiler alert. we're about to take paddington apart. what's this? this is london. one of the key areas that we began with is previs, or pre—visualisation. it's working in an extremely low—fi fashion, to be able to practically explore camera angles, moves, using — working with animators who have a familiarity with paddington himself. filming without paddington, it makes the process extremely abstract, that's for sure. and so we employ a variety of techniques. for the best part, there is a stand—in called lauren, who is about paddington‘s height. and she'll give us, everyone on the set, a brilliant insight into paddington‘s presence. you don't want to make the work in post very difficult or expensive, by having to paint lots out, so you try and minimise

what is in the place of paddington on the shot. i think the things that are most difficult are where paddington is interacting with objects or people in the plate. so you always need somebody to do that, to create either the — you know, touch the cloth that's going to be touched. there's statistic that, if you put all the man hours together, it would be 75 years of someone‘s life to do all the visual effects on paddington. so that sort of gives you a bit of perspective on how much work is involved. fundamental was that he lives in — that you would believe him. he had to be hyperrealistic, he had to live in a real space. you know, we're always very careful to not reveal too much whites of the eyes, to have eyes that sort of look too cartoony, to contain all the gestures. often an animator will first pick up paddington, and they'll go for very obvious statements,

and paddington is not about that. you take it all away. it's all in what's absolutely necessary. and it's a sort of small shift of the brow here, and a dart there, that tells you he's thinking. and i think, you know, once you get into that, the small, then you can start engineering these sort of — carefully placing these sort of beats. that's when it starts to feel genuine, and live and breathe as a real character, and something that you can hopefully fall in love with. the train chase obviously, as a particular set piece, was inordinately complicated. but, even within the prison, you know, the ceilings have been extended, and the atrium. there's a huge amount of set extension. when we're lifting off in the balloon, and he's escaping with knuckles, the entire prison exterior is a fabrication that is cgi. simple little scenes like the one where he travels through the prison, it's transforming, and you're seeing his effect on the place, and everyone is making cakes, that was a massively complicated sequence, because of the very artisan sort of way in which we wanted to make this prison transform, and that sort of michel gondry—like

musical appearance to all the things. it took many, many — a lot of planning, with many passes on motion control, back and forwards, an exploration of what would work, doing things on and off. almost infinite possibility, that we needed to play through. but no, there's a lot of augmentation, always, through the film. i think probably almost every shot you could point to something and go, 0k, well, that photograph has been inserted in that frame, and that sky has been changed there, or that bridge didn't exist, you know. and there's a lot of that stuff, all very understated. howling. 0w. thank you, mr brown. and that's it from the shortcut of click from the children's global media summit. did you enjoy it, dm? yes, me too. don't forget we live on twitter @bbcclick, thanks for watching, and we will see you soon. hello, and welcome to newswatch with me, samira ahmed. coming up: the news at ten can't tell the difference between three bollywood actors in reporting the death of film star usher kapoor. and how the bbc is sending

journalists into schools to tackle fake news. first, how the death of the renowned indian actor shashi kapoor was covered on the news at ten this week. the bbc chose to play only very brief footage as huw edwards announced the star had died aged 79. but neither of the actors shown work shashi kapoor. the veteran indian actor shashi kapoor has died in hospital in mumbai at the age of 79. from one of india's greatest acting families, he appeared in more than 150 films, including a dozen in english. he starred in some of the biggest hollywood blockbusters of the 1970s and 1980s. many viewers noticed and complained on social media and the programme's editor

paul royal apologised on twitter shortly after. and on the following night's news at ten, huw edwards apologised over photographs of shashi kapoor. they confirmed that mistakes were due to human error. last night we showed the wrong images, which we apologised for. the actor appeared in more than 150 films, including a number of english—language productions. shashi kapoor won numerous acting prizes during his long career, as well as one of india's highest civilian award. well, the bbc said sorry. was that good enough? many viewers got in touch to question how such a mistake could be made. nadia hussain e—mail to say: