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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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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.
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In this Photography tutorial you will learn how to shoot a rock band on location.
Tags:How to Shoot a rock band,creating images,Lighting techniques,music photography,nobsphotosuccess,photography a rock band,photography tips,photography tutorials,rock band photography,successful photography
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Male: What are you going to do?
Male: Okay he’s got—is that what you want to do John?
John: Yeah, I’ll bring it. Kick your light with that.
Male: Okay so I don’t have to explain it what you’re going to do here. We all—he got all this whole switch. So he’s got a meter and then we’re going to meter port and then we’re going—he’s going to put the band right. Cross front here. Shooting here with the white angle will actually get all this. We’re going to pull one item behind them facing this way and that’s going to be—its going to light them like you know oh just go look like 0033 and then let’s go look like that your album from 1975 there you go. And then we’re going to bring a 0040 and probably one light in front and we’re going to match the—this can be a little slow speech, we’re going to match the ambient with the stroke so we can pull in all that nice. Light that disappeared.
Male: You’re going to match the ambient with the stroke.
Male: Yes but this is might half a second at F8 that I make the ambient like go even brighter to stops.
Male: That’s the idea.
Male: This maybe a total a flop.
Male: Oh we’re going to find out.
Male: We’re going to find out.
Male: So John—
Male: We see that movie right along in hump. This is James doing his best mono from 1987.
Male: And not screwed up.
Male: Okay this is our—so 0128.
Male: Say again.
Male: We’ll because he going in a wide angle and he’s going really low having that on the floor was really between Jill’s legs.
Male: Which will give us some serious flare?
Male: Put it right in the middle of their backspace okay.
Male: So they actually back out the light?
Male: Exactly and we’ll just going pin later on them.
Male: Come on let’s go.
Male: So what we need to do is we need two meter reading on their back and just to see how much is going to come out there. All that John? Okay let me get a meter reading on that.
Male: Are we good? Try out.
Male: That will be a really good relay.
Male: Yap. So we had more light.
Male: Work the light are basis.
Male: I’m going to throw shadow anymore.
Male: Why are you going to see when you take first exposure here.
Male: If its not I’ll just erase it. Here’s our flush point it back.
Male: Who’s shoot is this, either John?
Male: John’s? Who is the boss?
Male: John and you tell me what to do.
Male: Yeah I know 0305.
Male: John, here’s the top aren’t you?
Male: Yeah that’s right.
Male: F8 F5 and black and dash and those lights.
Male: Don’t forget to throw ambient in there.
Male: I’ll just explain what you just did there.
Male: That about half a second exposure and I’m at 17 0516 right now and I’m going to zoom back to 40 during my exposure.