Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
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.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
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.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Sian: Back to lesson now for some hints and tips on high key lighting. Right then Paul, what do we do now then? Paul: Okay, well we’ve seen how we can get a high key effect to using window. Sian: Yep. Paul: And a simple reflector. Now let’s imagine that you’ve got a little bit more of a budget and you can afford a studio head and a soft box. Instead of the window, we can use the soft box the size of it to actually create the high key effect in the background. Sian: Okay. Paul: What I’m gonna use on the camera is a flash gun to light the subject with. Now, I already metered the light reading to make sure the same result, the same as the window upstairs. But we can, we make sure that this is gonna be slightly brighter than the subject. So, so literally, because, obviously the biggest soft box you can afford, you’ve got more leeway with how, how far out you crop if you need a really close head shot. Now obviously is big but it’s not that big, so for this shot, we’re gonna have to, we’re gonna have to get quite close in to get the effect that we need. Sian: Okay. Paul: So, we got the flash head on here, which is gonna trigger the slide cell on the studio flash. So we don’t have to worry about having a wire or anything like that. And we’ve set our ISO lower, because we’re using flash light, we need, we can get a constant level with the flash. So, my ISO is now 200, and I can set my shutter speed to anything from 125th to 160th and then we just meter to get our RF stop, which is around F5 for this particular lighting set up that I’ve got. So, let’s try and just line up a shot and see, and see how it goes. Okay, ready, one, two, three. Okay, if I just show you how it’s coming out, we’ve got the white background coming in again. And she looks like she’s lit perfectly there. It’s looking perfectly good. The other thing we could do, you could get the same effect using the reflector, and possibly if someone was holding your reflector above here, then the backlight would be bouncing off and we could use it that way. If your budget stretches to a little bit more, you can buy another flash head, which we got one over here. I’ll just turn it on. Okay, and obviously with a flash head like this you can use, you can get a much more flashing light, you can certainly use an umbrella, or you can put another soft box on it. So let me just change over and stick the trigger in. okay, I’m just gonna test this, yeah that’s working. So, this time I’ll try the same shot, but we’re using our… working so… Amy do you wanna, just step, step right there, over there. That’s great. Okay. And ready, one, two, three. Okay, that’s great. Now I’ve got, I’m finding that this is slightly darker, so we got two ways. We can either increase the light slightly on there or we can have open out our rep stopper, once the… Sian: Right. Paul: Let’s try the same thing, ready, and one, two, three. Okay that’s great. Yeah, I mean all our levels are right, and obviously using the broule… Sian: Brilliance. Paul: …it can actually diffuse effects. Sian: Yeah, and warm picture. Paul: Yeah, exactly, I mean, being able to use the studio light with the broule on just gives us much more pleasing effects on the shadows. Sian: Well, excluding this camera, what kind of budget are we talking for this set up, if someone else wants to show me greatness? Paul: Okay, we can get quite a fairly cheap budget set up with two lights, broules and stands for about 3 to 400 pounds. Sian: Right. Paul: The kit that we’re using today is more professional kit and that is gonna coz more like 8 to 900 pounds. Sian: Right. Paul: For the two lights set up. Sian: And obviously, it could get more expensive than normal. Paul: Well yeah, I mean you can get more expensive, you know, better quality brands. Sian: Yeah. Paul: If you win the lottery, you can go to town really. Sian: Okay, so, what if you got literally an unlimited budget. Paul: Okay, well that’s the next set up that we’ll gonna do. So, let’s go and have a look. Sian: Right, let’s go.