this is bbc news, the headlines: donald trump is celebrating the strongest us economic growth infouryears, despite warnings it might not last. the increase of 4% between april and june, was driven by strong consumer spending and a surge in exports. the president has described the figures as "historic". millions of people have been gazing skywards to catch the longest lunar eclipse this century, as the moon passes through the shadow of the earth, causing it to glow red. the phenomenon — known as a "blood moon" — coincides with the closest pass of mars for fifteen years. a sexual misconduct investigation has been launched at cbs, one of the big us tv networks. claims going back several decades have been made against the broadcaster's chairman and chief executive, leslie moonves. shares in cbs fell more than 6% on news of the claims the foreign secretary has been asked to intervene in a custody case,

involving two children living in china, whose british father was murdered by their chinese mother. the family of michael simpson want jeremy hunt to appeal to chinese officials when he visits the country next week, as katharine da costa reports. seven—year—old jack and six—year—old alice are at the centre of an international custody battle. their british father michael — seem here with them — was stabbed to death in his shanghai apartment in march last year by his estranged chinese wife. she is serving a life sentence for murder. since their dad's death, jack and alice have been living with their chinese grandparents, unaware of what has happened to their parents. happy birthday, grandma! but their english granddad wants to raise them back in the uk and is fighting for them to be brought back here, which, he says, is what his son michael, would so desperately have wanted.

happy birthday to you! michael raised them very much in a western style. they spent two visits a year over here. they speak english, though it is suffering a bit of a moment, for obvious reasons. they have travelled around spain and thailand with holidays with our family. when they were already talking about a divorce, and weiwei was happy the children wuold go with michael, because he was the real carer. so as far as we're concerned, that's where they should be. in a statement, the foreign and commonwealth office said, our argument is they are both british citizens. jack has a chinese passport but alice has no documentation, which means she cannot go to school there because you need an id card

to do that. mr simpson said his daughter—in—law‘s family are demanding tens of thousands of pounds in exchange for the children. he thinks political intervention is needed and hopes with the backing of the british government and the new foreign secretary, they can be reunited by the autumn. katharine da costa, bbc news. now in a few minutes it'll be time for the film review. but first, click. the eight planets in our solar system, all unique and instantly

recognisable. and don't they look amazing from our viewing protean —— podium here in outerspace? now what we really wanted to show you just how good visual have become. not only does the graphics computer generate all of these lovely images but as the cameras move about, the objects and the background appear to stay in their correct positions. now this is not easy, now this technology originally came from the movies and now it has come to tv. so, here we are in the bbc‘s virtual studio in the first thing he will notice is that obviously the graphics computer replaces anything that is green with the background. but, in order to draw all of the objects in the right place in 3—d space, the computer needs to know exactly where the cameras are so it can draw everything from the right angle, and that is why all the cameras have

this set off reflective tracking and that is why all the cameras have this set of reflective tracking balls on top of them. it also means that i can take my own set of tracking balls and turn this into a virtual hand—held camera that i can fly through the sea. so, there is mercury and venus, earth and mars, coming round past stupider, just duck under saturn and there is neptune. and here is the thing, just as we are getting used to having this much fun in tv studio, at the top end of the movie industry they are getting ready for something even more incredible. he is mark cieslak in los angeles. the next big leap in cinema technology could be upon us. called intel studios, this is the first time a crew has been allowed to even catch a glimpse behind the scenes at the state—of—the—art equipment. this space is designed to film in 360 degrees,

a technique known as volumetric capture. diego has worked on the visual effects in movies like gravity and warhorse. now he is heading up this operation. so this is your volumetric space? it is indeed. it is pretty big. is the largest one in the world. it is currently focused on large—scale volumetric capture, and it is a unique space that we have built, dedicated for filmmaking volumetric. can we take a look inside your dome, please? that is a lot of green. it is a lot of space and a lot of cameras. how many cameras have you got here? well, currently have we have more than 100 cameras. how do you have enough sensors to capture the information from any angle? so you can see around, it is really a variation of angles and positions that we used to capture anything from every position.

in this space, a scene can be recorded once but is recorded on all of those cameras surrounding actors, so every single act —— angle is covered. the volumetric shots are pumped to dedicated services, which then processed these into a cloud. this is a 3—d representation of the entire studio. the action can then be watched from any angle that your desires. the action can then be watched from any angle that your desire. once decisions have been made about where to position the camera, the action is cleaned up. this particular scene was made several times. you can create virtual sets and integrate performance around that but the key thing is you can keep the live performance, you can keep a presence that the actors have, the interaction between them, and once you have digitiser information, once you basically

generated this volumetric, immersive data, you can really be walk in cyberspace and reshoot the entire sing again. the filming process, with its 100 plus cameras orfilming at once, generates a massive amount of data, all of which is processed and stitched together on—site. in total, there are iopitabytes of storage in here. that is the equivalent of 133 years of film. because the dome separates the studio from the crew filming, directing is similar to filming in a new studio. so once it is no motion captured things, it is here, and that would be the performance. i'm used to working

with cameras, it is going to be difficult to work with over 100 of them. i am going to attempt to get this ball into that group. —— hoop. let's try that again. this time, the team had backgrounds and create a seamless shot from the 100 individual captures. and the crowd goes wild. creating the shot is not quick though, this one took about 150 hours to make. as we look at filmmaking, we want to create that, that transition. how do you immerse into this world and into these experiences, but with the real performance?

with the real actors. now, the tour de france is coming to an end this week, the monumental 3351 kilometre race is now 115 years old. fans love its epic proportions and its gruelling pace, but this year they may also be able to enjoy a lots and lots of lovely data. because analytics and machine learning are coming to one of the oldest sporting competitions in the world, and pat hawkins went to find out how. and kat hawkins went to find out how. this he's tour de france is taking place against the same beautiful french mountains as always.

cycling is becoming increasingly data driven and the good reason. cycling is becoming increasingly data driven and for good reason. masses of data can be collected and in the sport of fine margins and superhuman indurance, those insights are the key to energy efficiency, strategy and gains. we look at many things, we look at obviously heart rate, power data and their maximum power and their altitude and elevation gain. so we look at that and we see how the riders are building and we leveraged that data to try and build them to be stronger and better in stage races. how is the data collected and transmitted ? that is where these little devices come in. it may not look like much but this small devices on the back of every bike taking part and it has actually been revolutionary. it then beams up to a following helicopter. it is then sent to the data truck

real—time analytics. and this is where the magic happens, from bike to motorbike the helicopter to here, this is where all the data from the tour de france is being stored. the data truck is where data is analysed, enriched, and visualised for broadcasters and team. there is even enough data for machine learning algorithms to get to work. the depths of data analytics produced from simply a gps device is staggering. during the race, riders wear earpieces and following closely behind them is the data car, where the team analyst is analysing the data and feeding them live information. what happens in here? it is quite an important place, isn't it? if you imagine you are at nasa and trying to fly a rocket to the moon, when all the details

come in and they can be from all directions, and we send out one message to the riders. hundreds of datasets are analysed, from competitor tactics to live course condition. so we analyse all of the climbs, the gradients of the climbs, the road surfaces, the width of the roads. if they are coming around the blind corner and there is a pedestrian crossing, all of these things we try to identify. the tour de france with restrictions and sponsorship deals, we do not get any heartrate and power data, but we do get location, which is absolutely crucial because we can make decisions much, much quicker. ok, so we are in the race. this is happening, this is live. what are we saying to our riders? so, come on, you have got 250 more metres. round the next corner here, hairpin. good luck.

i can see instantly that the psychological impact of that is huge, but how do the cyclist themselves feel about having data in their sport? having everything measured and tracked can have its downside. you try to keep it secret because when you're racing the tour de france you don't really want to give your competitors that advantage. people say it's turning into f1, it's just robots talking to robots. what do you say to those people? it's more than that. a robot doesn't have to put the effort in. that is it for the shortcut of click. you can follow us on twitter

and facebook throughout the week for loads of tech news and behind—the—scenes information. see you soon.