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.
Male1: And the other nice thing about this particular lens, and I wish that every lens had this, but it’s not just gonna happen. Is the collar that goes around it, the main point of the collar is so you don’t, when you have a heavy lens, you’re not putting the camera on the tripod with the tripod mount that’s under the lens and having all this weight ripping at the connection point on the camera. It balances the weight out. What else it does, instead of you having that, they’ve improve on and they let you rotate your camera, so you can go from horizontal to vertical. And rotating it on the lens axis, so once we framed up this flower, and I decide, well I rather shoot that… usually for landscape, shooting your nature stuff , it’s either horizontal or vertical, it’s a 90 degree turn. For flowers, since nobody knows, I mean some of these, like I said, they look upside down, some of these look right side up, you might want to turn the camera just a few degrees. It’ll still keep the flower exactly centered in the frame. So you don’t have to reframe it, like what if you’re using a, just imagine a regular head on a tripod and you wanna go from horizontal to vertical, the whole camera moves over, maybe like 6 inches. So now it’s not even aimed on what it’s aimed at before. And then you got to move your whole tripod over, meanwhile you can't because there’s grass in the way, or stuff, it’s just a big hassle, this is such a huge advantage. And with this lens, I can get in, I think the minimum focusing distance is like what, 18 inches or something? Male2: Around there. Male1: It’s pretty close. We could find out right now, you measure that from, and that’s measured from the sensor, not the front of the lens. So up from the sensor, forward. Male2: Technical question. Male1: Meanwhile, we’re ready to check that. Male3: It usually tells you right on the mark. Male1: Oh yeah. Male3: Can I move the focus? Male1: Sure. Male2: And I’m filming it. Male3: Half a meter. Male2: 18 inches. Male1: That’s pretty close. Male4: Good call there. Male5: Will you put a live image of that? Male1: We will. Male2: Well, we won't be live out in as he’s focusing and stuff like that. You’ll have to use just the video out cable directly to a monitor, where because of other reasons. Male1: But it will be a, you’ll see it after I actually use the bigger… just a minute. I actually not shoot that one, I’m gonna drop down and shoot the one a little below it. Just because… Male4: Finding competing composition, is it? Male1: And also, I may have mentioned this before, what I, over you’re working close with the macro lens, the auto focus will still work, will work fine. But because the sensor that you choose, like in this case, I’ve got all these different option. I get a pair or so focus points, I could choose one of those, hit the auto focus and the shutter release and it will focus on that. But because where in so close it might be an 8th of an inch closer to what I wanted to be, or a quarter of an inch faster. I just switch to focusing to manual. And on this lens it’s easy, it’s just a snap on the lens itself. Snaps to autofocus and in the middle at any point, if you’re shooting with autofocus and you wanna go to manual, just snap that back, and it automatically engages the manual focus. You don’t have to do anything on the camera body whole.