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Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
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Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
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Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
So, how do we go about solving this particular problem? Well, I am going to go back to my original image just to reset things, and you do that by just clicking on this original thumbnail at the top. After you get done goofing around the way I have so far.
Now, I am going to try to make some real progress here and I do not really know what the image needs more of. This is really typical when you are working inside this dialog box. It is easy to see what is wrong with the image in terms of what it has too much of like too much red for example, but it is difficult to see what it has too little of like I need to add more green or something like that. It does not have enough green. That was a hard thing to say, who knows.
By I can tell it is got too much red, so I am going tap more cyan because I know that cyan is red’s opposite. So, I will go ahead and give cyan one click, maybe two, and then I might say well, you know, maybe it needs a little more green. Maybe green it may look a little better. Let us try that out. And really, it is also about not only sort of anticipating what color you need to get rid off, but also by just sort of responding to these little thumbnails, these little visual indicators. You just click on the thumbnail that looks better.
And in this point, I might say well, this little thumbnail, eventhough it is very, very tiny, it does look better than the original. So, I will go back up here to compare current pic to original and sure enough, current pic looks better inside these mountains here. And also note, it really has not done anything to the sky. It has actually changed the sky and colors a lot, but we are just not really responding to it. It is not really something that we are seeing because our eyes are sort of less sensitive to the green-blue range. And so, things are still looking pretty sky colory, looks pretty good.
Okay so, the other thing I want to show you is that so far, we have only been working with midtones. And that is generally speaking what you are going to be willing to do. You are almost never going to adjust shadows. And the reason is -- watch, when I select shadows, notice that we give some odd coloring going on all over the place. That is because of a little option right up here that is called Show Clipping. These are the clip colors. These are colors that are outside the CMYK range specifically.
Well, it is not very accurate, put it that way. I do not pay much attention to this option, just turn it off. And now, what you are really going to see what is going on.
Now then, now that we got rid of the averring colors, I am not really seeing much different. I can just really hammer on the shadows on the red. It really takes me awhile to make any difference whatsoever, notice that? Or I can hammer back here on more cyan to get the shadows back the other direction. It is tough to make much of a difference in the shadows. I guess that is what I am trying to say. So, you are not going to spend much time there.
Now, highlights are even worse. I would say if you are going to spent maybe 10% of your time with shadows, you are going to spend roughly 0.000, nothing, ever, percent of your time with highlights and it is just because you end just wrecking stuff. If I start making the highlights more -- red for example, I just make white red. Everything that used to be white in the image starts becoming red, and you just do not want that. That is just bad, so almost never with highlights, I dare say.
So, most of your time, we will spent with midtones. Now, you will also spend some of your time with saturation. Notice what happens when I click on saturation, I lose everything along the right hand column. We will come back to the luminosity stuff in a minute. And it lose all your color stuff too and it is replaced by the saturation stuff right here. That is okay though.
As you may recall, the mountain is way too saturated. Rock, dirt this does not even go with saturation. So, I am going to click on less saturation, even a couple of times to back it off until things start becoming more and more gray.