Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
EMMY NOMINATED SERIES directed by and starring Steve Buscemi is back for a second season!!! Park Bench is a local's take on the special people, places, and spirit of New York City. Through unscripted moments with average New Yorkers and Steve's celeb friends, Buscemi takes viewers on a funny, first-hand journey/misadventure, told in his unique voice.
Journey to the Draft is an organic, unscripted, docu-series that follows three college football players, all with promising professional careers. These young men attend different schools across the country and play a variety of positions on the field, but at the end of the day they share one goal:to play in the NFL. The AOL docu-series follows players Leonard Williams, Kevin White and Marcus Peters.
Connected features the personal stories of six New Yorkers woven together into one of the most intimate series ever. This groundbreaking show changes the nature of storytelling by giving each character a camera to document their lives. The result is a unique format revealing as different as everyone appears to be, we are all universally Connected.
Wake up to your world in 2 minutes.
"Stricly Come Dancing presenter Tess Daly and The Saturdays' Rochelle Humes talk to mums about their experiences of being mum. Whether the daughter of a Rolling Stone, in one of the most famous girl bands the world has ever known, or a parent coping with disability as well as family life, each mother in Being Mum shows that the feelings, challenges and rewards of motherhood are universal no matter the surroundings you find yourself in."
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.
In this final lesson, we are going to be taking a look at how to unify our Color Settings here inside of Photoshop so that we get a better preview of exactly what our image is going to look like when printed.
So we need to go ahead and setup some basic Color Management Settings and also work on our color spaces here inside of Photoshop. So let's go ahead now. We will come up to the Edit menu and we are going to go all the way down and we are going to choose Color Settings.
Now, inside the Color Settings dialog box, you are going to see here that it is automatically set to probably SRGB or Monitor RGB, depending on what profile Photoshop has defaulted to for your specific machine. Now, what I am going to have you do is change this RGB value. We are going to change that to Adobe RGB 1998 and we are going to do that simply because Adobe RGB has a more broad range of tones, and it can recognize a higher dynamic range of color here inside of Photoshop.
So this is actually a better color space to work in when you are working inside of Photoshop simply, because it allows you to view a more broad tonal range when working on photographs and it gives you a much better preview of exactly what an image is going to look like when printed off of your computer.
So now what I am going to have you do is go ahead and turn on More options and we are going to take a look at some of the options down here at the bottom. Now, by default, Photoshop's Conversion Intent is set to Relative Colorimetric, but I am not going to have you keep it at Relative Colorimetric, we are going to change that to Perceptual, and we are going to change that simply because Relative Colorimetric displays to the best to its knowledge whatever color it thinks you have on-screen rather than the actual color itself.
So what we are going to do is change that to Perceptual, so that what you see on-screen is exactly what you get on output. Now, there is nothing else that we are going to be worrying about per se with colors here inside of this dialog box, simply because I don't want you to mess with your CMYK Setting simply because that is going to be specific to what your printer has you setup.
For instance, if you're outputting digital photos for commercial print work, you don't need to mess with this CMYK setting simply because every printer profile is usually different. So if you change this, you might wind up screwing up your photograph later on and it might be a real pain to get it back to where it needs to be when you go out for commercial output.
So just leave that setting alone. Make sure you have your RGB space set to Adobe RGB (1998), leave your Conversion Intent set to Perceptual, and when you finish with that, go ahead and click OK and now those settings have been saved and we are right back here inside of Photoshop.
Now, the next thing we are going to do is we are going to work on the color space itself for whatever image that you are working on here inside of Photoshop. Now, by default, usually digital cameras which is a lot of the type of files we are going to be working on in this particular series. Most digital cameras shoot in a color mode known as SRGB and SRGB is kind of a limited color space if you ask me, and really something that you really don't want to do.
So we want to work in the same color space as the color mode that we are working in inside of Photoshop that we just setup. So we want this image to be in Adobe RGB, the same as our working color space. So what we are going to do is we are going to come up here to the Edit menu, and we are going to choose first, I am going to show you the Assign Profile dialog box. Now, when I come in here and I assign the profile, you will notice here if I click here, that you are going to see a slight change in the tones of this overall image, and that's because it's not actually changing color value of the image, it is actually just updating a preview of what this image would look like if it was in Adobe RGB (1998).
So this is actually not the way to go. So if you wanted to assign a profile to something, that is really not what you need to do in order to accurately preview what your color is going to be upon output here on the screen. So what I suggest you do is cancel this because you don't need to go into a side profile. I just wanted to show you this so that you could see that you do indeed get a visual change with this as opposed to Convert to Profile.
So let's go ahead and cancel that now, and we will come back onto the Edit menu, this time choosing Convert to Profile. Now, when I do this, you are not going to see any visual change on screen, simply because of the fact that this is actually changing the color values of the image to fit that current profile that you have. So what we are going to do is we are going to change this Color Setting. We are going to change the color profile to Adobe RGB (1998), and you will notice there is no visual change to this, but we are actually working in the same color space as the original Color Settings we setup in our Color Preferences.
So now, we go ahead and click OK and we have unified our Color Settings and we have a much better idea of what our color is going to look like upon output and we have unified these settings, so that we won't have any kind of color management problems later on throughout our workflow.
Okay. So now we have got all of our essential preferences, our Color Management Settings, our familiarity with the CS3 interface itself should have a broader understanding of exactly how all these things work together and how it is going to help us improve our workflow here inside of Photoshop CS3. So now we are going to take a look at how to start organizing our photographs using my favorite application, the Adobe Bridge.