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Converting to and correcting in 16-bit Lab

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Converting to and correcting in 16-bit Lab

Now we have got a great blend between the adjusted sky, the exposed sky and the exposed landscape right here. And by the way I should say I am working in a catchup document called The better sky mask.psd that you can open from the 17_16bitHDR folder and just to give you a sense of what kind of difference we have made, using this layer. Here is what the scene looks like without that Levels adjustment layer and this is what the scene looks like with that Levels adjustment layer. So it's just affecting the top most portion of the sky but it's doing a great job of making the sky nice and dramatic. Now at this point here, I want to go ahead and convert the document from the 32 bit per channel mode down to the 16 bit per channel mode so that I can apply other modifications for example, I want to bring up the saturation of my scene but I don't want to apply a pass of the Hue/Saturation command, I want something that affords to me a little more control.

Converting to and correcting in 16-bit Lab

Now we have got a great blend between the adjusted sky, the exposed sky and the exposed landscape right here. And by the way I should say I am working in a catchup document called The better sky mask.psd that you can open from the 17_16bitHDR folder and just to give you a sense of what kind of difference we have made, using this layer. Here is what the scene looks like without that Levels adjustment layer and this is what the scene looks like with that Levels adjustment layer. So it's just affecting the top most portion of the sky but it's doing a great job of making the sky nice and dramatic. Now at this point here, I want to go ahead and convert the document from the 32 bit per channel mode down to the 16 bit per channel mode so that I can apply other modifications for example, I want to bring up the saturation of my scene but I don't want to apply a pass of the Hue/Saturation command, I want something that affords to me a little more control.

So I want to switch to the Lab mode but the Lab mode the L-A-B mode is not available to me when I am working with 32 bits per channel. In fact, only RGB and Grayscale are available to me, nothing more so I need to down sample to 16 bit. Also if I hope to share this image with a client or something like that or even family members in my case, I need to get out of 32 bit per channel mode. So I am going to do that by doing the following, I am going to go up to the image menu, I am going to choose mode and I am going to choose 16 bits per channel. Now Photoshop is going to ask me if I want to merge or not. Now frequently when you are switching between modes you can say don't merge the layers together because we have a two layer image. But when you are going for a 32 bit to 16 bit you have got to merge unless you want this effect to totally fall apart on you. It doesn't go look anything like this in 16 bit per channel mode because we can't draw highlights from another room, right, we can't draw a completely lost highlights like we can in 32 bit per channel, we can't do that in a 16 bit per channel.

So the Levels command is going to have a completely different effect. So we have got to merge first. Even clicking on the merge button will force the change in this scene. Photoshop has done what we asked, went ahead and merged the two layers together which is a good thing and now it's just kind of monkeyed with the exposure settings, that's basically what's happened here. Now there are different methods for down sampling an image from 32 bit to 16 bit. And you can play around with them, you can play around with highlight compression, for example, and there is no options associated with highlight compression by the way. You can also try equalize histogram which is a bad idea; it's just going to try to distribute the histogram equally so basically all the points in histogram were of the same height which almost never works.

But it is an option if you want to try it out. You have got this option called Local adaptation and when you choose Local adaptation here, you get sort of this shadow highlight effect going. So you will see halos appearing around the various edges inside of the image unless you take this radius value way up. And that's when your halo start to go away but then when you take the radius value way up, you are going to start blowing highlights and filing in shadow details to a larger extent. The idea though of course, this looks terrible at this point. The idea is that you have now access to a toning curve.

So you can click this double-down pointing arrow head button here in order to reveal the curve and then you can play with the curve in order to darken the scene if you need to or lighten the scene in other points and you have a lot of control but you are still dealing with the effects of the radius and threshold values here which I quite don't appreciate actually. I don't find these options to be very useful so what I tend to do is I switch over to Exposure and Gamma and I must say this area of the dialog box is a little controversial, it's not like I am speaking for everyone out there. There are people who appreciate these controls and think that they end up producing nice effects. I just don't happen to be one of them. I am going to go ahead and switch over to Exposure and Gamma which produce more uniform effects, you are not getting those strange halos around your edges, the way you are with Exposure and Gamma but also you don't have access to your tone curve anymore. Notice that the toning curve is no longer functional, even though it's still visible on screen, you just can't access it.

So we might as well close it so that we don't have to look at something that's not working for us, which is a little bit frustrating and then you just go ahead and expose the scene you just go ahead and modify the Exposure control the Exposure slider here and you modify the Gamma slider as well if you want to. Very small adjustments make huge differences; I am here to warn you. So I am going to go ahead and raise the Exposure value for my part, what seems to look pretty good is an Exposure value of 1.16 and you can arrow that value up and down if you like and that tends to actually be a pretty good way to work.

Once again though, you are eyeballing things. You are just trying to see okay, am I keeping this area white or am I sending it down to gray a little bit or what am I doing? And then I would go ahead and take well, I guess, 1.14 works for me, I don't know, I am just playing around, I have to admit. And I am going to take the Gamma value up just a little bit as well but I don't want to take it too high, let's see what it looks like if it's just flat, 1.0. It looks pretty good actually, all right, so I will go ahead and click OK in order to accept that modification. What's really important is that your highlights and shadows are where you want them because once you switch to 16 bit; you are locking down your highlights and shadows now. You are going into that big room full of chairs but you can no longer move through the walls, you could no longer retrieve clipped highlights or shadows at this point.

But what you can do assuming that you like to look at the scene, you could tweak it a little bit like I could bring up the Levels dialog box and I could go ahead and tweak the histogram, this is a more meaningful histogram, more sort of trustworthy at this point and so I can say, okay, I want to you know bring the shadow point in line with the beginning of the histogram and then I am going to go ahead and raise the Gamma value just a little bit to compensate for example and I could take it even higher if I want to, but I know what the scene to get sort of drab either. Or I am going to cancel out because what I really want to do is I want to make my Levels modification in the Lab mode so I am going to go to the Image menu, I am going to choose Mode and I am going to choose Lab color. Now I am going into somewhat unfamiliar territory at this point, when I am showing you Lab, we have seen Lab before; we set the outset of this entire series. And you may recall that it's luminosity channel mixed with a tint channel in the form of an a channel and the temperature channel in the form of the b channel but I haven't shown you this technique before for the Lynda.com Online Training Library, I am hoping to create a Lab series because Lab is an extremely powerful mode where color correction are concerned. I am going to go ahead and press Ctrl+L now. At this point having switched over to Lab and I am going to darken the lightness channel just slightly to just bring the shadows over a little bit and I could bring down the Gamma or up the Gamma, I might being the Gamma up a couple of clicks there.

So 6 and 1.03, I am going to leave of course the highlights along here. We already have some blown highlights here and now I am going to switch over to the a channel, here is the little technique that I want to share with you. You can darken the black point and lighten the white point in the a and b channels in order to expand the saturation of an image. So check this out, this is a great way to elevate saturation. It might be the best way to elevate saturation inside of all Photoshop. I am going to click inside the black point value right there and I am going to press Shift+Up Arrow a several times in a row like four times in row let's say and then I will tab to the white point there and I will press Shift+Down Arrow four times in a row because I want to compensate equally on both sides and notice that that increases the saturation of the a colors which are the tint colors so they are green and magenta. So I have increased the saturation of the greens and the magenta colors inside the scene.

So this fully edge down here has become more saturated and check it out this is before and this after. So you can see that's become more saturated. The red inside of the rocks is sort of the magenta inside of the rocks has become more saturated as well. All right, so that throws the scene out of balance so we need to go over to the b channel and do the exact same thing. Let's take this first value upto 40, Tab, Tab, take the second value down to 215 and we end up getting this more elevated saturation in general. Now if feel like the scene has gone a little bit too blue which I do because this color right there, it should be more of a neutral color, it was a little bit blue but not this blue. So let's try taking 215 down a little more. So I press Shift+Down Arrow to take the white point value that is down from 215 to 205 and that fixes the scene pretty nicely there as you can see if that's still not enough, you can want to warm it up further, you could take it down another click but I think then we are going too far.

So I will raise it, let's try 200, 202, something along those lines, looks pretty darn good where this scene is concerned and then I will go ahead and click OK in order to accept that modification. Now this is a heck of a great looking scene in my opinion especially given let's go back to the Bridge for a moment, especially given that this is what I had to choose from, right. So this is let's go ahead and scroll down to ake Powell here, this is Lake Powell-1, this is Lake Powell-2 and this is Lake Powell-3, they are all looking terrible, right? But when I merge them HDR and modify them especially inside of the Lab mode in 16 bit, at the very end here, then I end up getting this effect which is much better looking, I think just a pretty darn sweet image.

And not the kind of thing I could have exposed for on the fly when I was shooting the photograph. Now it's possible that a more talented photographer could have actually captured this scene but I couldn't have, I will tell you that much and I wonder if anybody else could have either, I just think this is one of those scenes that defies capturing this beautifully but thanks to Merge to HDR we were able to pull to off. Okay, so one last thing that I am going to do. I am going to go ahead and rotate the scene of course because it's an angle. So let's go ahead and grab our Ruler tool right there, from the Eyedropper tool fly-out menu and I am going to drag along what I presume to be the horizon which would be this line right here and actually if we go with the chalk line which is where the lake level used to be at some point in time then I think this will give us a pretty accurate reading of the angle that this scene should be at and then of course we will go up to the Image menu, choose Rotate Canvas, choose Arbitrary or you could smash your fist down on the keyboard and press the R key depending on if you loaded deke keys way, way back when and it's telling me that it's going to rotate it at angle of 0.59 degrees counter clockwise, I say, oky-doky don't really care just do it and it goes ahead and applies the rotation, then I will grab my Crop tool, I suppose and I will go ahead and drag around the scene to try to crop it and this looks pretty good to me. And I will go ahead and press the Enter key of the Return key on the Mac in order to crop that scene and there it is people.

A beautifully rendered scene here in the Lab mode, if you want to, you can switch back to RGB in order to apply further edits you could also down sample to 8 bits per channel, if you want to. But I am just going to leave it the way it is because I think it looks gorgeous. I am going to fill the screen with the image Tab away the palettes and zoom on in and here it is the final version of the image exposed; just properly every piece of it, the sky is exposed beautifully, look at that sky, the ground is exposed beautifully, the lake is exposed beautifully. We have three motion trails in a water that doesn't bother me. That's the only even slight mistake however. Thanks to the wonders of 16 bit and 32 bit editing, high dynamic range here inside Photoshop CS3.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26447 viewers

Deke McClelland
Author

 
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  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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