All language subtitles for All.Light.Everywhere.2021.720p.BluRay.x264.AAC-[EN]

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I am an actor
who will give

voice to the hole
at the center of this film.

Because every film is, in part,

an autobiography.

Because every image has a frame.

And every frame excludes
a world beyond its edges.

And yet,

when we understand something,

we still say,

"I see".

- Okay.
- Alright, still rolling.

Moving into
the experiment phase.

- Alright, rolling cameras.
- Rolling.

Alright, let's roll sound.
Roll camera.

What's your role?

I want to get this
out of the frame.

Rolling, rolling.

Alright, and action.

Okay, hi everyone!

Thank you for coming
to participate

in our research study.

Hi.
- Hi.

We're a neuroscience
research company,

and we're interested primarily
in how people

respond to media content.

Okay,

I'm going to get you set up

with these instruments.

We have a bunch
of different instruments

that we use to measure
those responses.

As you watch the content,

there are sensors--

so whether it's exciting
or amusing...

any of that response,

we'll be able to pick up
with these sensors.

On the side...
same here.

You continue pushing them back.

Are they sitting okay?
- Yeah, yeah.

- How does the headset...
- Perfect.

- Perfect?
- Yeah, yeah.

- Headset feels good?

Feels great.

Ah wonderful,

and if you can just
face me briefly.

Is that comfortable?

Okay, great.

So, we're going to do some
calibration exercises.

If you can, just,
close your eyes.

Open your eyes.

Close your eyes.

Open your eyes.

Close your eyes.

Keep them closed.

Keep them closed.

Relax.

Keep them closed.

Open your eyes.

Here we go.

Oh, okay,
do you want me to stop here?

Maybe like stop right here,
and say, "Hey, like, welcome,"

Oh, you wanna do
the welcome there, okay.

Can you actually
step further back?

So like, basically,
there's not as much sun.

Okay, that's good, like--

How's about--
Okay, you tell me.

Yeah, so maybe, like
come up, like, right here,

It'll open right here, right?
- Yep.

Okay, great.
Like, if it opens right here

'cause you're in the shadow,

and we can just
keep the exposure

the same right here?

Sure.

And then you go, and then turn.

You do the eye scan,
and we follow you from there.

You got it.

Come on in.

Thank you.
You have been identified.

Welcome to Axon Headquarters
and Manufacturing.

Today we're going to take a look
at some of our amazing

Axon and Taser products.

And we're going to take
a quick tour of our building.

Hi.

This is the IT area
for the entire company.

More conference rooms.

Over here, we've got
the accounting side

and the financial side
for the office.

So each

area has its own
designated department.

As you can see here, we're on
one of our first catwalks.

We try to do this,
like Star Wars, like Star Trek.

Give this a real high-tech feel.

If you look around here,

there are no secrets here.

I mean, look at,
the entire C Suite is open.

I can look right down on what
the C Suite's doing.

You know what's going on.

And so transparency

is really good for another thing
called candor.

We expect candor here at this
building with positive intent.

And when you know
what's going on,

It just feels really good
when you get that candor 'cause

you do assume
the positive intent,

and it makes the company better.

We work our way
up to the third floor.

And before we do that,
I want to flash over here.

There's a Black Box.

That's what we call it.

And the Black Box
is a colloquial term

for R&D,
the Research and Development.

They are in a Black Box,
because we don't want them

showing their wares,
or what they're working on.

So we want them to stay
kind of hidden.

At the same time,
they're looking at us

and with, sort of like a car
with a tinted window,

they can see us,
but really can't see--

them too well.

That really gives that

feel of they're working
on something really unique,

powerful, and

not to be showed
to the public just yet.

That's the Black Box.

And everybody says they work
in a "black box",

but we put them
in a real Black Box.

And that's pretty cool, I think.

1874.

The world prepares for

the astronomical event
of the century:

the Transit of Venus.

A few times every century,

the orbit of Venus crosses
the face of the Sun.

By measuring the time it takes
for Venus to make this journey,

astronomers can establish
the distance

the planet has traveled.

By comparing transit times
from different vantage points,

the distance between
the Earth and the Sun

can be calculated
through triangulation.

This process is called
the solar parallax,

and these calculations
are still foundational

for both astronomical maps
of the universe

and navigational maps
here on Earth.

Any measurement
is only as accurate

as the measuring instrument.

Prior to 1874,

astronomers had to rely

on highly trained specialists
for their observations.

These specialists activated
a timekeeping device

once the Transit began

and stopped the device
to mark its end.

But every observer
had different reflexes,

resulting in different times,

and thus different calculations.

Another obstacle
stood in the way

of accurate observation.

As Venus approached
the border of the Sun,

the planet appeared to liquify,

a phenomenon caused
by distortions

in the planet's atmosphere

as well as
the lens of the telescope.

Astronomers called
this phenomenon

the Black Drop effect.

The act of observation
obscures the observation.

Where the world meets
the image of the world,

the image falls apart.

To scientists,

the Transit provided
a unique opportunity

for technology to overcome
the limitations

of the imperfect human observer.

But not everyone was
convinced of their success.

The philosopher Henri Bergson,

writing on the Transit,

said that any attempt
to record a true measurement

was doomed to failure.

Venus, as it appeared
to the scientist,

did not reflect
the true nature of Venus,

but merely the limitations
of human observation.

There is no form,

since form is immobile
and reality is movement.

What is real is
the continual change of form:

form is only
a snapshot view of transition.

We'll talk at the break--

Thank you so much.
- You got it.

- Alright, good morning.
- Good morning, sir.

Look at all these--
I see a lot of familiar faces.

It's exciting.

Especially this little guy
over here.

Um, I'm Sergeant Robert Corso.

I do the body camera training,
um--

Before we get going today,
it's, uh...

a special day. We've got,
obviously, a couple cameras

besides the body-worn cameras
in the room.

So we're gonna go over
three different things

when we talk about
the body-worn cameras today.

The first block

is going to be about

the actual operation
of the camera.

How this thing functions,

how it works,
how you'll use it.

The next thing
we're going to go over

is going to be
about the website.

How you're going to access it,

how you're going
to search for videos,

find videos,
play back videos,

things like that.

And the last part of the day

we're gonna talk about policy.

And that's it.

At the end,

You'll get your camera.

You'll get your phone.

You'll learn how
to pair them together.

You take a test video.

We'll all do it together.

Learn how to upload it.

And if you haven't already,

we'll even get you
registered for the website.

And you'll be good to go.

Alright, any questions
before we get started?

We're about to go
into our production facility

on the third floor of Axon.

And right now,
before we go in there,

you're actually
in the viewing room,

because sometimes
we don't want people

to get full access to that.

So, now,

what I can do is show you
the viewing room aspect of it

in terms of turning it
on and off.

This

is where all the activity
really is taking place.

It's the nuts and bolts
of our company right here.

We actually hand-make

our Axon body cameras

and also our Taser weapons

and some of the accessories
that go with it.

So everything is made here

that you wear on the body.

So,

We're going to take a look first
at our Axon body cameras,

and we'll, uh,
take a gander here.

This is where we make
the Axon Body Two.

Now what's different about this

is that the lens is incorporated

in the actual
controller aspect of it,

meaning that I can wear this now

and record from my chest

using a magnet mount

anywhere on my body.

Truly a body camera
where you mount it to your body.

So here,

we make sure
that the camera itself

is focusing properly.

This is where
we do a lens check.

Processing quality assurance

along the way.

We need to make sure
that they contrast,

see in the dark,

and mimic the human eye.

This is a very
unique camera lens

in that, we don't want to
not mimic the eye,

because we don't want to be
able to see in the dark.

Humans can't see in the dark.

So if we had
an incident in which,

somebody drew
what looked like a firearm

down a hallway,

we don't want the
infrared to show

that it wasn't a gun
or it was a gun.

Because the officer
doesn't see in infrared.

That can jade a jury.

We want it to mimic
what the human eye can see.

If you go beyond that,

now you're gonna see things that

maybe a jury would say,

"Well, the video saw that
this was a squirt gun,

not a real gun".

But the officer can't see that.

You want to see what he saw.

So,

we saw some camera companies
in the very early stages

that were competing with us
using infrared.

Big mistake.

They don't do that,

because you can't go
into court like that.

It doesn't mimic the human eye.

There--

There are things you want to see
just like the officer sees

from the officer's perspective.

When it comes to court cases,

what the officer's
perspective is key.

And that's always been the case.

So you don't want to give them

something beyond
their perspective.

These photos,

from a collection titled

Photographic Atlas of the Sun,

do not credit
any human photographer.

The Sun itself is credited
with their creation.

The man who assembled
these authorless images

was the astronomer
Jules Janssen.

In 1871,

with the world preparing
for the Transit of Venus,

Jules Janssen unveiled
a new invention

that he hoped would
address the issues facing

accurate measurement
of the solar parallax.

Janssen called his invention

the photographic revolver.

The design of Janssen's revolver

was partly inspired
by the Gatling Gun,

a semi-automatic machine gun
that was first introduced

on the battlefields
of the American Civil War.

The gun's inventor,

Dr. Samuel Gatling,

dreamt his gun would drastically
reduce the bloodshed of war.

By replacing human soldiers
with automatic machines,

he thought,

fewer soldiers would
be needed to fight.

Janssen's revolver applied
automation to observation.

The operator loads the camera
with a circular plate of film.

When activated,

the plate is exposed
at regular intervals.

The human operator is removed
from the act of observation.

There are no original plates

of the 1874 transit
left in existence.

This sequence, made by Janssen

using a miniature model
of Venus and the Sun,

was filmed over 20 years before

the Lumiere Brothers
would release

their own version
of the movie camera.

Many consider this sequence
to be the first movie ever made.

By the time of the transit

62 parties from ten countries

had set out with their own
competing instruments,

each vying to become
the first country

to calculate
the solar parallax.

It was the largest scientific
expedition of modern times.

But every single trip,

including Janssen's,

was an absolute failure.

Each instrument had produced
its own incompatible data.

Every nation had come up
with their own solar parallax.

Astronomers were disappointed.

The military was not.

Techniques of long range
targeting pioneered by Janssen

were quickly adapted
for the development

of new ballistic technology.

Janssen writes:

"New infantry and especially
artillery weapons

can reach the enemy in places

where he is sometimes
barely visible."

A cartridge of film is loaded.

The shutter is triggered.

The flash fires.

The camera shoots.

An image is captured.

A common language endures.

Trying to see
if I can find somebody.

This is our program
we call Eyeview.

It's very similar
to Google Earth,

only it's live with Tivo.

Anywhere within it,

the images are updated
every second.

We record

large areas of troubled cities

that allows us to go
back in time

and we provide
an unbiased witness

as to what actually happened
on the ground

at those locations.

We take twelve cameras at once.

Our objective is to make it look
like one seamless image,

so you can't see the cameras.

But, you know,
it's a hard process to do.

Here you can see

we can actually follow this bus.

So here we can go
forward in time.

Here we can go
backwards in time.

And you can see
that the analysts,

they can go to
the scene of a crime

and follow these vehicles

from the crime scenes.

This is what a person
looks like right here.

That little dot there
crossing the sidewalk

is a person.

And we can't tell who they are,

what color they are,

the only reason we know
they're not a bush,

is they're walking along
the sidewalk.

The only reason we know
they're not a dog

is they tend to get
into a car and drive.

Alright,

so let's talk about
operation of the camera.

How this thing works,
how it functions.

How you're going
to physically use it,

activate it, deactivate it.

When mounting the camera

to your body,

it's important to just be guided
by some general rules, okay?

Maximize the camera coverage.

In other words,

wherever you're mounting
this thing to your body,

the overall goal

is to be capturing

whatever you would normally see,

sitting or standing,

facing forward.

Right?

Whatever you would normally see,

sitting or standing,
facing forward.

That's the goal to be captured
with your camera.

The purpose of this program--

The purpose of
the body camera program

is to record our interactions
with the public

when it needs to be, right?

How 'bout this,
I'll give you an example.

Maybe you're in
a room of the house,

and you've found some evidence.
It's under the sofa.

Right?

Where is this camera looking?

It's not looking under the sofa.

It's looking at...

the wall.

Keep that in mind.

You want to document and record

the fact that you have now found
and are recovering

that evidence.

And this is one of
your best friends to do that.

But if it doesn't see it,

it's not helping you.

Just remember,

your camera,

your mount,

or your hand

and never anywhere else.

The only time this should
ever leave your physical

contact

is when it goes on the dock,

or on your charger at home,
if you take it home.

Right, this is--
what is this called?

What is this physical--
what is this called?

Body camera.

Right? It's in the title.

It should be on your body,

touching your body

at all times.

The body camera
operator both uses

and is part of the camera.

Most of the time,

the camera operator's
body isn't seen.

The camera moves,

but we rarely see who moves it.

I like these
ones down here.

When the operator speaks,

it narrates the image
like a voiceover.

The Axon Body camera's
recommended placement

is centered on the chest.

It does not capture the direct
field of view of the operator,

but from a slight parallax.

The operator is not
seeing for themselves,

but as an extension
of the state.

The wide angle of the lens

is meant to capture

as much of the surrounding
environment as possible.

But the wide angle
also exaggerates motion.

Subjects appear closer
than they are,

their movements more severe.

Time,

date,

and file name are imprinted
in the upper right corner.

An Axon logo brands the video.

Axon is the literal frame
through which an event is seen.

These elements are used to prove

that the image was captured
at a certain place,

at a certain time,

and according to a set
of standard protocols.

These protocols allow the image

to be admitted
into court as evidence.

A neutral witness,

free from the imperfections
and bias of human memory.

But a blind spot is exploited.

Just cut back.

The frame
of the body camera

erases the officer
from its view.

A viewer is placed
in the body of the officer,

watching what happened
to them,

and not what they did.

The courts view this image
as an objective witness,

but the camera
is designed

to limit what can be
seen by this witness.

There's always a body
behind the body camera.

Again, you'll see
all our core values here.

Win right.

Own it.

Be obsessed.

Big one for us
on the passion side.

Aiming far.

We're not gonna shoot
for the moon.

We're gonna shoot
for Pluto here.

If you own it,

you don't want to be singular.

You also want to join forces.

So it's kind of
a diametrically opposed,

but not diametrically opposed
situation.

And the last one is expect
candor with positive intent.

We speak pretty frank
here at Taser.

We're going
to take a look

at the X2 line,
for our Taser smart weapons.

A smart weapon is
an electronic controlled device.

It's a device that's
gonna use electricity

to incapacitate a violent

or dangerous person.

We make that weapon here,

and it's really important
to understand that

quality is really important
on this side of the line because

an officer's life
may depend on it,

and conversely, a suspect's life
may depend on it

working properly because

if it doesn't work,

an officer may have to go
to a higher level of force,

and that's not good
for the suspect,

and certainly, that's not what
the officer wants to do.

So let's take a look
at how they're made.

- Hi!
- Hello.

Oh, just filming right now.

Oh!

A final scan is done here.

It's been used many times,
put under stress.

It goes in here
for final kitting.

And off this goes, in a box,

and goes off to
a law enforcement agency.

Hopefully,
it saves someone's life.

Just being aimed at a suspect

is our number one use of force.

It makes you think:

"I'm on the business end
of whatever that is,

and if it's a taser weapon,

I really don't want to be
shocked by that device."

So to me, it give that standoff,

and you give good
verbal commands.

"I'm gonna use a taser on you.

Put your hands down.
Put your hands down."

And all the sudden,
they see that.

That's a great visual cue

that something bad is about--
is going to happen to you.

Oh, by far and away, the cameras
have the same effect.

Look at the effect it's having
on me right now.

I dressed up.

I'm more professional.

I'm not cursing right now.
Why?

I'm being professional.
I know I'm being recorded.

Your cameraman is being
very professional too. Why?

He's recording me.

We both have jobs to do.

The officer has a job to do.

He wants the professional--

So at the end of the day,

the cameras are changing
behaviors

just like the weapons,
when they're aimed,

can change behavior
in a very positive manner.

No photos of the 1874 transit

are left in existence.

But this strange portrait

of a smoking
Jules Janssen survives.

The portrait was taken
by Étienne Jules Marey,

a French scientist and pioneer
of early photography.

Marey invented a new camera

that improved and
miniaturized Janssen's design.

He called his invention

the photographic rifle.

It was the first
portable movie camera.

With his rifle,

Marey turned his gaze
from the stars

to life on Earth.

In the studio,

Marey performed
a series of experiments

that studied
the mechanics of motion.

To Marey,

these cameras were not
just a better eye,

but an entirely
new sensory organ,

capable of revealing the
invisible patterns of the world.

"Not only are these instruments

sometimes destined
to replace the observer,

but they also have
their own domain

where nothing can replace them.

When the eye ceases to see,

the ear to hear,

the touch to feel,

or indeed when our senses
give deceptive appearances,

these instruments
are like new senses

of astonishing precision."

Our senses may lie to us,

machines cannot.

Marey went beyond simply
photographing motion.

When motion was captured,

it was automatically
converted into data.

Seeing and interpretation

were combined
in the same device.

Before these machines,

the world becomes a resource
for the extraction of data.

They see.

They measure.

They compute.

As a scientist,

Marey hoped to uncover
the natural order of the world.

But his methods
actively concealed

the unnatural conditions
of this process.

These instruments do not
reproduce the world,

they produce new worlds.

His subjects were not in nature,

but in the controlled
setting of the studio.

What would these images be
without this theatrical set?

Without these
specialized instruments?

What do these lines represent

but the restrictions
of the subject's movement?

Who gets to frame
another as subject?

These motion studies,

taken in Senegal
under French colonial rule,

tie Marey's work
with another project

of resource extraction
and exploitation.

In one sequence,

a group of children
walk past Marey's camera.

They pause for a moment,

staring straight into the lens.

Perhaps they stare
at the man behind the camera.

Cool.

- Alright, see?
- There it is.

Alright, there it is.
Alright.

Cool, alright,
so let's, uh,

I'll just, um...

I'll just give this to you,
I guess,

and then you can bring
it over there.

And uh...

Ed is wearing
an Axon Body 2 camera.

He's also wearing a Taser X2.

That X2 has
Axon signal technology

that will turn that camera on

as soon as he turns
the safety on.

Right now, that subject
is convulsing.

He went through
a five second discharge

from a Taser X2

that hit all these
core muscles here.

He split the belt-line
which is key.

This person would have been
very disconcerted at a minimum

and he would have been not able
to do any controlled movements.

He would have fallen
down on the ground.

I didn't get here in time,

so go ahead
and engage him one more time.

He has the ability
to reengage this

since this person
is still plugged in.

On that second application,

he's complied.

We can now say that this person
is completely controlled.

I can now remove the probes.

I simply take out the probes,

and you can take a look
at what these probes

look like up close.

What we need that probe to do is

either stick to clothing
or skin.

We need both of them on there

to complete that circuit.

If you take a look down
on the ground,

you'll also see

that it's also displaced
or dispersed

multiple pieces of confetti

called anti-felon identification
confetti.

It has serialized confetti

that will match back
to that specific

cartridge right there
that Ed just fired.

We can now upload that
camera evidence

up to Evidence.com

to see what exactly happened
from his perspective.

Great. Freeze.
I'm gonna track out for a second

to give us more tail on the end.

One, two, three,
four, five,

- Cut.
- Okay.

Okay, so the video you recorded

has been uploaded
to Evidence.com.

Now we'll go ahead
to our player screen.

And press play.

The camera records
an image of an event.

But the image does
not speak for itself.

To be considered
in a court of law,

any piece of evidence
must be both authentic

and relevant to the case.

He's complied.

This person is completely
controlled.

When admitting evidence,

any lawyer must establish that
these requirements are met.

Axon's software automates
much of this process.

When an officer
docks their camera

at the end of a shift,

the image is automatically saved

and uploaded to Evidence.com.

Date,

time,

and device number are saved
alongside the video file.

The metadata proves that
the camera was actually there

at the event in question.

Everytime a clip is opened,

shared,

or modified in any way,

the software generates a note
alongside the video file

indicating who
accessed the video,

when they did,

and what they did with it.

This audit trail is presented
in court

as proof that the evidence
has not been tampered with.

But the body camera footage
serves another purpose,

as a memory aid for the officer.

After a use of force incident,

most police departments
in the United States

allow officers to review footage

before making a sworn statement.

An opportunity arises.

After watching the video,

the officer may align
their statement

with available video evidence.

These tools do not
reproduce an event.

They produce
a narrative of events

that can be used to
retroactively

justify a use of force.

Oh, it's all AI. Yeah.

The way this software
is gonna learn

and it's gonna go ahead
and automate what

takes us, you know, some
manual labor today.

Photography has been
used by the justice system

since the 1840s to document
detained people.

But photographs without
a classification system

were useless
for police departments.

A young police department
administrator,

Alphonse Bertillon,

wrote a letter
to the Paris police daily

describing the problem:

"If an individual
already condemned

under the name of Pierre
claims that his name is Paul

and that it's
his first offense,

how can one even suspect a lie?

How can one prove it?"

In 1879,

Bertillon introduced
a system where

upon arrest,

a person would be photographed

and subjected to a series
of 11 measurements.

These measurements were
written onto index cards

alongside their portrait.

Bertillon called his images

"talking portraits".

If the image cannot
speak for itself,

Bertillon hoped that
the measurements could.

Bertillon wrote a manual
that standardized

the methods for taking
these measurements.

The diagrams depict
a delicate choreography

between police officer,

detained person,

and scientific instrument.

Everyone is well dressed,

fully compliant.

In some,

there is the faint trace
of a smile.

In one example,

Bertillon poses
as a criminal subject

within his own system.

His image takes up relatively
little space on the card.

Within Bertillon's system,

a person's data
supersedes their image.

The human body is fractured
into an array of features.

Data is extracted and organized.

A new human subject
is assembled,

one that's legible
as a criminal to the state.

Bertillon writes:

"In a word,

to fix the human personality,

to give each human being
an identity,

an individuality,

certain,

durable,

invariable,

always recognizable,

and always capable
of being proven."

Police departments worldwide
adopted his methods.

Bertillon himself
toured the world

giving courses
in "ocular education".

On entering one
of his classrooms,

it was said that students
were met with a large poster

displaying one of
Bertillon's favorite sayings:

"The eye only sees in each thing
that for which it looks,

and it only looks for that of
which it already has an idea."

The camera that we have,

the Axon Body 2,

it's the second generation
camera designed by Axon.

Features include:

a lens,

right?

All cameras do. It's how
they record video.

This camera,

in particular, records in HD.

142 degree viewing angle.

So if I were to wear
this camera up here,

stand right here
in the front of the class,

I would definitely see
all you guys no problem.

Does a good job at capturing
a wide angle

without distorting the video.

Microphone,

it's how it records audio.

Simple enough.

Standby switch at the top.

This is important.

Think of the standby switch
like a light switch.

When it's off,

and you don't see
that red sticker,

it's off.

All the way off.

When it's on,

and you do see a red sticker,

there are two different
operating modes.

Alright, there's standby mode

which you'll be in
most of the time,

and then there's recording mode.

When you are in standby mode

you have not activated this
camera to take a recording.

Technically,
it's always recording,

but only video, no sound.

Now,

the only time it's going to
save that information

is if you hit the button

to take a video
yourself manually.

Once you activate this
to take a recording,

that thirty seconds that
it's always been saving

will automatically be added

to the beginning of your video
for you.

And I'm going to show you why.

Thirty seconds is a long time.

We're gonna go thirty seconds
right now.

You ready?

Everyone be quiet.

Not even halfway there.

Thirty seconds.

That was thirty seconds.

A lot can happen
in thirty seconds.

A lot.

And it does.

But think about it this way,
once it happens,

having the ability
to essentially go back

and grab that information

simply by hitting
the button on your camera,

because of something sudden
that happened,

that you didn't know.

You know, you didn't know
in advance

that a crime
was gonna take place

or that somebody was gonna

assault you,

or something like that.

Being able to go back

and essentially grab
that last thirty seconds,

that's huge.

That's big for us.

As you can see here.

Huge.

So,

imagine if we did not
have that feature.

Imagine if it just,

the video started when

you pressed the button
on the camera, right?

Still we would have video.

It wouldn't be nearly
as helpful though

as the video we have.

See, see from here, if--

if it started
where you press the button,

and it didn't have that buffer.

This is why that buffer
is a huge feature for us.

That's huge.

Watch what you would see.

We are 31!
Shots fired! Shots fired!

Okay,
so we see a suspect.

We see a weapon, right?

We don't get to see him running
through the neighborhood

We don't get to see him
carrying the gun.

Definitely don't get to see him
turn around

and point it
at the police officer.

Not nearly as helpful

as having that
thirty second buffer.

Still better than no video.

It definitely adds a layer
of evidence to our cases.

But not nearly as helpful
as having that thirty second--

I think that's good.
Let's see what it looks like

in a take,

and then we can make
an adjustment.

And we'll do that actual layers.

So the shot is that, uh,

we'll be very tight on your face

and we'll zoom out

while you're watching
the footage.

Just like very neutral,
just watching.

And we pan over

and all this stuff
is floating

and it's just gonna start
flowing around you.

- Okay. Just watching it--
- And that's--

You're just watching--

You're just--
you don't even see this.

You don't see
the entire film crew.

- Okay.
- Right here and--

Yeah.

Alright, let's, uh,
reset to one.

Let's have the string pullers
standing by.

you're good--

The analyst will
actually
go in and track the car

second by second.

And it's a little bit
like a video game

where you

click on the car

as if you're--

I don't want to say
shooting at it,

'cause that gives you
the wrong indication,

but I think this is
just an interesting way

of looking at it.

I think it's more of
the "God's Eye View" in essence.

Where you're getting
an opportunity to look down on

huge areas of a city.

We can't reach out
and touch anybody,

but we can see what occurred

on the city streets.

Um...

I believe God sees everything.

And that he not only sees

where you are

but also what you're doing

and we see very very small parts

of what I believe God sees.

Uh... yes.

I can do that.

Well, it's one keystroke for me.

Backwards in time.

1908.

A photograph captures
an airborne view

of Kronberg, Germany.

The wings of a pigeon poke
in from beyond the frame.

Another photo in the series
captures a man,

Dr. Julius Neubronner,

on a roof with his assistant.

Neubronner was the son
of a pharmacist.

His father had trained pigeons

to fly prescriptions
to distant patients

The younger Neubronner
engineered a different payload:

a lightweight camera containing
an automated shutter mechanism.

A released pigeon will always
fly straight back to its roost.

Attached to the pigeon's chest,

Neubronner's camera created

a photographic record
of their flight.

The pigeon is both part of

and operator of the camera.

The human gaze is outsourced
to another living species,

providing unmanned aerial
surveillance of the world below.

Neubronner's invention
did not escape

the attention
of the German military.

Balloons were too
slow and obvious

for aerial surveillance.

Early planes were too loud.

Pigeons represented a silent,

nearly invisible means
of gaining

valuable information by air.

As Europe marched towards war,

the birds were trained
for combat.

But the pigeons did not
make good soldiers.

Because pigeons will only
fly in straight lines,

the pigeons had to be released
deep within enemy territory,

something that
was nearly impossible

during the bloody trench
warfare of World War One.

These borders present
no such obstacle

for today's combat drones.

In Neubronner's diary,
we encounter a dream:

"A dream last night where
I was flying over Kronberg.

At some point in my journey,

I looked down to see
a man on top of a roof.

On closer inspection

I saw that it was not a man,

but one of my pigeons.

A great vertigo overcame me.

I didn't know who was flying
and who was standing still.

I realized that we must
be orbiting each other,

tethered by the mutual gravity
of our gaze.

Alright guys, let's keep
it rolling with policy.

So let's talk about the purpose
of the body camera program.

There are four main points,

four main points:

professionalism,

transparency,

evidence collection,

and accountability.

Right?

Correct.

When they talk
about professionalism,

what do they mean?

It means the cameras
are going to document

all of our actions.

Right?

Actions can be reviewed
by a supervisor.

They can be reviewed
by Internal--

Listen up, guys.

The point is to ensure that

everyone is acting
in a professional manner

as always.

Accountability.

Definitely for us.

We wear the camera.

Right? Everything we do
is on camera.

Everyone's actions are caught
on camera though,

so not only is it
accountability for us,

but it's accountability
for those that we deal with.

Right?

Definitely.
Definitely.

I'm going to show you guys
an example of that.

Is this a shooting?

Yeah.

You wanna pause.

Good to go.

Alright.

No.

He just said drop
something on Wilkerson?

Alright.

Why don't they
show this so the public can see

what we film can be bull crap.

Internal-- IDs should
be watching this.

We show a lot of things.

And the ID has watched this.

- Well I hope they watch--
- This individual...

after his arrest

Well first, let's back up.

What do we have here?
We have a foot pursuit, right?

Mhm.

And what happens at the end
of the foot pursuit?

- He falls.
- Who's watching? What happen--

What happened to this gentleman
at the end of the video?

Let me tell you
what happened to him.

I didn't like the fact
that the way

he was pulling something out

from his waistband.

He knew it was just
his phone.

Yeah.

- The recording--
- Well yeah, you know what--

You see him reaching
all over the place.

Yeah, that there.

Even before all that,
what happened?

What happened right here?

It looked like
he needed to head--

- He fell.
- He f--

Well,
we get the sound...

He's tripping.

He's falling right now.

- Oh he's falling.
- His legs are giving out.

His legs are giving out.

We thought he was gonna
bob and we

inbetween some parked cars
and you know,

It didn't work out.

He just got
the cell phone out

so he could manipulate
the situation.

- Right, that's what I--
- He's trying to record

the officer. What's he gonna do?

But that's
something sticky though,

it look like him reaching
for something like--

- Right.
- So he could have a gun--

I've seen it.

Right.

So,

his legs give out.

He runs to the back
of the pickup truck.

He falls down.

And he immediately starts
yelling what?

You hit me!

They hit me.

Record.

You dropped
something on Wilkerson.

Who's he-- who's he
saying record to? Us?

His homeboys!

He say
he dropped the drugs

on Wilkerson.

He dropped
the drugs on Wilkerson.

So was there--

was there any unreasonable
force used there?

Was there really any force
- No!

- used there at all?
- No.

No.

And this video immediately
exonerated those officers.

You know, no wrongdoing.

It was very apparent.

Shows what actions
each side takes.

That includes us

and them.

Everyone else that we deal with,

anyone who's not the police
wearing the camera,

shows what actions

they took.

And then it shows subsequently
what action we took

in response to it.

So,

cameras don't take sides.

Just remember that.

They're the all-seeing eye

and just going to remember
whatever they see,

and they're going to play it
back for everyone else to see.

You hear that sound?

That's the sound

of a business

That's the sound of success.

That's the sound of an economy.

And

I don't think people
quite realize

the economic engine

companies like this make

for the success of a country.

All these pieces of equipment,

you're not gonna find this
anywhere else in the world.

This is it.

No one else makes this, this,

this, all put together
like this.

You just feel the ticking sound

of production,

and that's being taxed.

That's paying for tanks.

It's paying for social security.

It's paying for everything here.

Even this piece of mylar
is taxed.

The smallest little thing here,

from the wire to the tools,

all of this is part of
this economic engine here.

And to see

a piece of equipment
in the airport

on the officer's belt,
from the camera to the weapon,

you know where it came from.

You know someone like her
made it.

And that's

pretty exciting here to me.

I love this sound.

Dat. Dat.

That's an amazing sound to me.

It really is.

Okay, and cut.

Woo! I think that was it.

- We've done it!
- Great job guys.

Oh my God.

Uh, okay, are we done
with these--

are we done
with the special effects?

We are done
with the special effects.

We don't want
immigration.

What? We want the-- what?
Fair in power.

So when you leave here
with your documentary,

Right?

Oh no, no,
this isn't a documentary.

Whatever, whatever,
whatever it is.

- This is--
- Whatever it is, sir.

And they're filming
without permission?

I think you outta say,
brother, you're on.

You're hot.

You gotta say that means,
"The light is on.

We're recording you

without your permission",

and if you are going to print it

without my permission
and my signed affadavit,

I will sue you as I sued

the University of Baltimore
Medical system,

and shut 'em down.

That was me.

I'm just saying.

As we come in here

and have the beautiful, beloved
community happy talk

which will we need?

What we need is the truth
about this neighborhood.

These people take care
of this community.

They want honesty
in this community.

But what they don't want

is to be pimped again
by anybody.

I doubt it.

I doubt it. I don't bring pimps.

I bring solutions.

- I'm not talking to you!
I'm talking to this man.

But he's ordered--

And that's fair.

and because you're here, that
means they're more credible

So,

I'm gonna take a little walk.

We got a little weed.
And I'll be back.

You're gonna be--

- I'll come back.
- You'll come back?

You sure?
- I'm coming back.

- In't just walk.
- Yeah, but--

- Alright.
- ... talking about.

Gotcha.

And you can use whatever
you wanna use!

My mom might like
to see me on TV.

He definitely know
what he talking about.

- Yeah, we're definitely
gonna be talking about...

There's no doubt about it.

Give him both.
He's angry passionately.

He's spitting facts.

Yeah, he's spitting facts.

Right?
'Cause some people like--

the first thing
that gentleman said,

and I'm not knocking him,

is that he starts looking
for color in the room.

Why isn't the cameraman
African American or Black,
right?

I understand that,
and you know what's funny,

I have a bunch
of younger cousins

who are in this industry.

They're in this industry,

and one of the things is,
my cousin,

I had a conversation with him.

I said, "Yo,
you need to train me

about audio and visual,
and things of that nature.

because I want
to know about it."

The dude that's in front
of the camera, that's acting,

that's not the money maker.

It's the dude behind the camera
Behind the camera.

So I think that

what we have to--
and I say that to say,

we gotta come--

we gotta play the--

be behind the scenes
to get in front of the scenes.

- Mhm.
- I wanna, I wanna--

I wanna start because

some people gotta leave
real quick.

Some local feedback.

That's why I'll be here.

To get the feedback.

They're here to document
the feedback.

So, I thank all of y'all
for coming.

I have asked Ross to come

and give a brief presentation

to you wonderful men

that I know that will take this
and spread it.

Okay.

So, this is Ross McNutt.

This is-- This is his, uh,

show.
Knock em out.

Thank you Archie.

Um...

I really appreciate
you guys coming.

We come to talk with you,

and to share with you a little
bit about what we're doing.

The Community Support Program

is a service that we provide.

It's built out of a system
that we built--

Actually we used it in Iraq
and Afghanistan

to support the IEDs
and the U.S. troops there.

The outputs of our major--

of our investigations

is a briefing that says
what happened.

Who was there?

Where'd they come from?
Where'd they go to?

And providing that information
to law enforcement,

and also, to public defenders,

and defense attorneys,

so that the truth can come out.

We provide an unbiased witness

to police activity
within the area.

What I want to do
is show you what

wide-area motion imagery is.

If you've ever
seen Google Earth,

what we do is a live version
of Google Earth.

So this is your shooter
right here.

And what we often do is look
for changes in behavior

on the ground that
would indicate

that a major event has occurred.

We're proposing to help
use this technologies

and these systems to help
the community.

How does that help
the community when

it's a constant surveillance
of the community?

Let me-- Let me
show you how this works.

and I'll answer that in just--

I kinda understood
how it works

because there were instances--

But maybe
somebody else doesn't.

But I--
I have a few minutes,

I-I-I have a right
to ask questions

so let me-- allow me to
ask questions, mam.

Because I'm a member
of this community.

And some of us
- Yes, but...

are foolishly

allow folks to tell us
what they gonna do for us.

So, uh,

there were instances
in Baltimore City

when that same technology
was used

to, pretty much,
without the consent

of the Mayor's office,

and other folks,

and they were being
in operation for almost

two-- three, four, five months.

And I think-- I believe that's
the same operation.

Yes.

And so, that operation was paid
for by a private individual.

And I will tell you

that we fought very hard.
- Mhm.

And we were told
we weren't allowed

to let people know.

We're-- we've been asked
by the community

to come in and brief
the community

and this will only go forward

if the community believes
that it's acceptable.

But if, if the information

that is being provided
to the community

is not the full scope
of the information,

how can the community
give full consent?

And how can the consent
be deemed to be accurate

when all the information
is not really

the whole objective of this

of that-- uh--

program.

We are here

presenting that information.

That's always
been the case.

But in reality,

we know that

this type of information,

the end result has never been

what this city would have been

in the first place.

We use crime

as a bait.

Because we know people
are very emotional

especially when we say
we want to solve crime.

But if the intention
is to solve crime,

why allow a private entity

to have control of such huge

type of devices

when it involves citizens?

And it's almost like
the private entity

- I think...
- is replacing the state

and doing the work of the state.

And that to me
is unconstitutional.

But I don't have much time.

I have another meeting.

But folks please. Be mindful

of what you allow folks to come
in our community to do.

Consent is not always
given freely.

Thank you for coming.

Yes, Archie.

Archie, do you want
to address any of that?

I'll deal with that

- Okay.
- Can I address it?

Sure!
- Can I address it?

Okay, the reason why I said,
it-- it--

it's not that, um,

it's consent,

it is, um,

um,

it is the fact that
when we go to the store,

we are under surveillance.

When we walk in the bank,

we are under surveillance.

When you walk in the
Baltimore City Public Schools,

we are under surveillance.

When you walk into the hospital,

you are under surveillance.

You go down
to the inner harbor area.

- Trust me.
- we are under surveillance.

You are under surveillance.

- Right.
- Mhm.

Most of the crimes
happen
on the streets of Baltimore

in broad daylight.

During daytime hours

when the deterrents

are in the hospitals and in the-

in the banks,
and they still rob.

Your premise is that

if I am under surveillance

then I must open myself to be
much more under surveillance,

I think that's a false premise.

Because consent--

This is--
This is the difference.

I was born in Haiti.

Right?

This is the difference
between this country

and other countries
in the world.

This is why I love this country.

It's the fact that

one has to be consented,

and that consent
has to be understood.

Why am I giving my consent?

There's a-- We have used
a lot of excuses

to deprive people
of their privacy right?

And their individual right.

You always come under the false
pretense of crime.

If we want to solve crime
in Baltimore City,

we can easily solve the crime.

I mean, we could follow
the routes of those individuals.

We know most of the individuals
that are operating on the street

and out there doing
the things that they're doing.

But to tell me that

in order to solve crime,

I'm going to
give up all my rights

so that crimes can be solved,

That's a false premise.

That's a false hope.

And that's what you're asking
these folks to do.

Because we know-- No!

Most of us don't even know
where these cameras are located.

That's not true.

Okay, listen.

Alright, listen. Let's-- let's--

And-and first of all,

W-wait, wait, wait.

You have cameras in here

that most people did not give
their consent to be filmed.

I understand.

You see, also
that's another violation.

You cannot come..
- I know, I know.

- You cannot come--
- everything that you're saying

You do not come
in the community.

You cannot come
in the community.

You cannot come
in the community

filming people!

Because I do not know what's
the use and the purpose of this

power in government.
- Listen, let-- listen.

The truth is

- What truth?
- is that--

- What truth?
- The truth is--

What truth? The truth.

That's the difference--

come in,
combative.

- Yes!
- It's not combative.

It's not combative!

No, it's not combative!

We let you speak.
Why don't you let him speak?

- It's not combative!

I've listened to you talk!

I'm trying to bring out a point!

--that what I'm saying
is complex!

It's not complex. It's simple.

How many murders are there
in this town?

How many murders
are in this town?

And you don't want
to answer that!

If you answer, how many murders

there are in this city,

then you oughta be willing

Let him, let him,
let him.

then you oughta be willing

to apply something
that would curve it!

He's here, he's here.

No, he's not here!

He is here!
He is here.

Where am I?

You see first of all,

I'm a pastor in this community.

What are you doing?

I'm a pastor here!

What are you doing?

I'm trying to tell you now--

- Tell him to come back--
- That your boys up there on--

The aerial perspective
looks down at the world.

Objects and people
are rendered as pixels,

flattened into
a two-dimensional plane.

Through the flattening of space,

a new dimension emerges.

The vertical axis becomes
a literal projection of power.

The world is down there,

the camera up here.

The viewer is supposed
to look down with the camera,

not to look
at the camera itself.

Where seeing meets
the seeing of the world,

we are blind.

It is in this blind spot
that power sets its agenda.

This eye does not see into
the tall buildings downtown.

The green trees of suburban
areas block our view.

This eye is made
to look for crime

in historically
high-crime areas,

and so it will see crime in
historically high-crime areas.

This eye sees,

an arrest is made.

The eye trains its sights again.

Sometimes,

the plane's body pokes in
at the edge of the frame.

Pixels disappear between
the seams of the image.

With them, bodies disappear too.

We are reminded that someone,

somewhere,

is putting this world together.

An act of seeing
is always an act.

An intervention into the world.

We do not see the world.

We see this intervention.

The frame excludes
a world beyond its edges.

But if we look hard enough,

there's always an edge
that creeps back in.

Alright, so,

- this is ready to go.
- I'm gonna--

Red is recording right?

Yep.

Alright.

Do we wanna, just--

And action!

This is the Axon Network.

This

is the Axon

Flex 2 Body Camera.

Axon Signal Sidearm Holster.

Axon Fleet 2

with SPPM on the Taser weapon.

Axon Air.

Axon Body 2 Camera.

When I draw this firearm
out of the holster,

it will activate
all the cameras.

A man poses as a
criminal on a Bertillon card.

He is Francis Galton,

first cousin to Charles Darwin,

and a prominent
English scientist.

Using a series
of barometric recordings,

Galton compiled the first

comprehensive weather map
of Europe,

showing how a series
of interconnected data points

could be used to predict

the future behavior
of complex systems.

Galton turned this attention
from the weather

to the human subject.

In 1879,

Galton first presents his system
of composite photography.

Galton organizes a collection
of images by type.

Criminal.

Tubercular Patient.

Family likeness.

Scientist.

Jew.

The images are overlaid onto
a single photographic plate,

forming a composite exposure.

Darker lines indicate regions

that align closely
to the average.

Blur measures deviation
from the average type.

The composite,

Galton believed,

reflected a greater truth
about the subject

than their individual
components.

Galton writes:

"All that is common remains,

all that is individual
tends to disappear."

Like Marey's experiments,

these images claim
to automatically

perform a mathematical function.

Galton called his system
"pictorial statistics".

But a crucial innovation
is proposed.

These images don't just
represent a subject,

they predict what a subject
in the future may look like.

"They represent,"

Galton writes,

"not the criminal,

but the man who is
liable to fall into crime."

As a scientist,

Galton hoped to uncover
the natural order of the world.

But his methods actively

concealed
this unnatural process.

For all the time
that Galton spends

describing
his photographic inventions,

he never describes how he
decides what images to include.

The criminal composite
does not reflect the person

who is liable
to fall into crime,

but merely what Galton
thinks a criminal looks like.

Galton would go on
to apply this

pseudo-scientific reasoning to
the new discipline of Eugenics,

a field which he is often
considered the founder.

No criminal was ever caught
using composite portraiture.

Though the images claim to show
what a criminal may look like,

they are impossible
to use for identification.

Not only are they blurry

but the people they depict
don't actually exist.

And yet,

they have already
been accused of a crime.

From what history
does the future dream?

So we're zooming in

on, um, license plates
that are clear enough,

and then drawing a tight
bounding box

around the license plate

to show the AI where it begins.

And then, if it has

legible letters in it,

then we'd add that in,

and the state.

And then it just
goes on from there.

An Axon Body camera
goes out into the world,

then records what it sees.

The image is stored
on Axon servers,

where it gets used as evidence.

Images,

and the data they contain,

are Axon's most
valuable product.

When a police department
signs up with Evidence.com,

they have the option of
allowing Axon to use their video

to train their next generation
of software products.

If they opt in,

departmental footage is sent
back to Axon headquarters,

where human analysts
aid the machine

in detecting recurring patterns
within the footage.

Recurring patterns
may include faces,

license plates,

loud noises,

or sudden movement.

With enough videos,

Axon's software can begin
to detect patterns on its own.

Once a recurring pattern
is learned,

actions may be programmed
based on that pattern.

Sample actions include
detecting faces,

transcribing conversations,

calling reinforcements,

or looking up a license plate.

The bureaucratic labor
of the police officer

is outsourced to
Axon's automated system.

These promotional videos,

taken from Axon's website,

dramatize a process

that is typically invisible
to the public.

But these images conceal
more than they reveal.

The Axon Network is a process

that takes place
within secure rooms,

on private servers,

enacted by code whose
basic functions are kept secret

by intellectual property
contracts.

It feels like watching
a corporation dream out loud.

A seamless world
where every tool

has met just the right situation
for its intended use.

History converges
on the present.

Weapon.

Eye.

Archive.

Interpretation.

Automation.

From what history
does the future dream?

What I say to
the conversation is--

What have you is
you have data.

Right.

And, and, and--

It won't work.

- In my opinion,
- It will not work.

data can be manipulated.

It can be adjusted or whatever.

They commit crime.

You gotta put
your feet--

Let's get
that understood.

This is not the City,
this is not--

This is not
Baltimore Police Department.

Right?

This is a whole private entity

that wants to assist Baltimore.

That's it.

They just wanna help.

They wanna come to assist.

There's nobody else coming
with no solutions.

There's nobody else coming
with no--

no "let's get together".

There's nobody coming with--

ain't nothing!

Even your City Council
don't have it.

I know.

We just left there yesterday.

There's no solutions
on the table.

This is the solutions.

"Give them more jail time".

So if you want that,
sign up for it then.

Are you saying the community
will be able to use this?

Yes.

We can look on the internet and-

Well, no, the-- it--

we still have lots of
privacy policies,

but, you know,
if you have justice,

because the system works,

I think

the crime will come down
significantly.

The tier-- the tier
Let me stand up!

of crime 'cause the person
who wants to commit the crime

will figure out that somebody's-
That's right.

- And that's actually--
- That's it!

That is the biggest
objective.

That's it!

That's all!

That right there.
See what you just said.

That's it!

That's all!

This is all we asking for

is a deterrent.

Take two hundred of you

and go fill sh--

Two hundred of you

and go out there and say, look,

'Cause I tell you

the moment I got whiff of it

he'll tell you,
I was not only paranoid,

but I actually said,
you know what?

We're not even ready
to cross the street right now.

You understand?

Like these kids nowadays,

only thing you gotta tell 'em,
"Hey,

God's eye-- God's eye up there.

Better wa--
Boy, be careful.

I, uh, beg to differ
to a certain degree.

Let me tell you why.

And I was saying this,
and she said it.

I've sat with young people,
and I've talked with them.

I've asked a group of kids
that was in a room.

Twenty kids in a room.

And I said, if you knew
the consequences of the law,

would you break it?

Ten of them said yes.

They knew that they could get
ten to fifteen years

to go to prison
by selling drugs.

They said yes.
You know why?

Because they trying to survive.

These kids don't care
about no camera!

They don't care.

They know they being watched!

And it's in their area!

Those blue light cameras

are in urban areas.

Not in Mt. Washington.

It's not in Federal Hill.

They're in urban areas!

Yeah, I agree with that.

But I also know that one of
the major factors in deterrents

is the likelihood
of getting caught.

They don't care
about that though, sir!

It's video cameras--
Listen!

Yo,

when the riots
and all that stuff happened

It wasn't him!

Listen, it don't make--
it don't gotta be him!

If I know I'm being-- See?
There we go with the deterrent.

If somebody's watching me,

I don't gotta know who it is.

I know it's somebody.
So it should deter me, right?

It didn't deter.

We had 306 brothers going up.

So it ain't cameras
that's gonna deter anything.

It's mentality that's gonna--
Right.

We have to begin to
change the mentality!

But not by being watched!

No, no, no that's just--
that's not--

That's not just--

I think where we're getting
off track here is

is that what you're saying
is right.

What he's saying is right.

What we're-- we're mixing
apples and oranges here.

Imma correct myself.

Okay.

It's systematic.

The system has to change

for people to see growth
and progression.

Exactly.

- May I say something?
- Yes sir.

- Go ahead.
- Listen.

This is

step number one.

And I'm asking you,

like I've asked everybody.

Mhm.

I said, if, if you wanna
sell this program,

turn the camera around.

The community is not
at all interested

in being surveilled.

I'm here to tell you.

You gotta understand.

Your perspective is different
from mine.

There are different perspectives
here.

We gotta see it
from their standpoint.

But what are you looking at?

How do you feel?

But, it-- it-- hey.

if you do that,

then you will make it palatable
to the community.

We're trying our best.

Thank you, Pastor.

I really appreciate it.

I think we probably
oughta pull this together.

Yeah.
And uh...

It was a little different
environment this time,

I might add.

I don't know

if, uh,

some of that was the fact
that there was

cameras and other things, um--

You know, I don't know how
that played in,

to be honest with ya.

Um...

I appreciate your time.

I would like to be in touch.

I think we have a program
that can help a lot.

Alright?

Pastor, thank you very much.

Thank you for hosting us.

And, uh, we'll come back
as many times as you'd like.

Okay, so,
I'm just going to go through

a series of brief questions

about the content
that you just watched.

You saw many images today.

What specific images
do you remember seeing?

Were there any that
stood out to you?

Well, uh, yeah,
I saw a bunch of images.

The most interesting ones were

either helicopter
or drone shots?

Good morning,
and thank you for coming.

I'm here today to announce
a pilot program

for aerial surveillance
in Baltimore.

We would be
the first American city

to use this technology
in an attempt

to solve and deter
violent crime.

Alright guys,
if there's nothing else,

then what we're gonna do now

is I'm gonna go get ITS

They're gonna come in
with the camera equipment,

get it all issued out.

Henry 392.

Frank 171.

Henry 392.

So, how did
these images make you feel?

Well,

I'm a filmmaker.

So-- so--

My eye on watching films

is a little bit different
from people.

I watch

everything in the background,

so I'm always critical.

So those type of things.

I've decided to proceed

with this proposed
pilot program because

it could represent yet another
tool in the toolbox

to solve and deter violent crime
in our city.

So, we're rolling.
I'm gonna come over,

and you're gonna show me
how to hold it.

And you're going to
put them in pairing mode

by holding the function button
on the side of the camera.

The little, tiny button
on the side of the camera.

Hold that down.

And hold down the record button
at the same time.

Tell me
a little bit more about

how it felt to be filmed
in this setting.

Hm...

It felt kinda, you know,

because you talked about, like,
what we were going to be doing

and I was really paying
attention to my heart rate,

and whether
my palms were sweating

so it felt kind of like
I was observing myself.

Make sure you paired
with the right camera,

and point the camera
at yourself.

You should see yourself.

If you see somebody else,
you messed up.

Yeah.

Oh, I can see myself!

So I'm looking forward
to hear from our community,

and to educate them
on what this is,

and what this is not.

So at this time,

I'll take a few questions.

Did these images

feel connected in any way?

Or did you feel there was
a narrative being formed?

Say hello
to the camera.

Hello to the camera.

Hi.

Alright,
let's do this.

Okay, we'll just do
this in one take

Do you want
me to put it in now?

Standby mode.

Uh, double tap to get it to go.

You hold it in right?
- You hold the button in?

You'll hear a beep and vibrate.

- That's what I did.
- And then,

- Like this right?
- And then your light--

You're still recording.

Alright.

I just like--

And just toss it up.

We want it--

This is my first day
getting my body-worn camera.

I'm so excited.

...and enter information.

There are three different fields
on that playback window

to enter in information.

The first one--
- Six.

22. 2017
Testing.

...search menu
on the website ID.

This video

is a training video.

It is concluding.

You wanna try it again?

Um...

Or you can just throw--

Okay, yeah, yeah
we can try it again.

We're filming!

Ay, yay, yay.
...you met Theo
before?

Did you get
any shots though?

Yeah,
I was mostly making sure

the camera was calibrated
for the room.

What camera,
would you know?

The FS5.

So this is what you,
this is your personal one?

Yep.

- Doc!
- Yessir.

Getting
behind the scenes.

Okay, we're just
setting him up

with his little, uh--

I'm recording.

Check, check, check.

Alright, so,
that's good. But anyway.

What in episode one

happened during the episode

that's gonna make
people wanna watch it?

That's-- that's what
we need to focus on.

So if there's nothing in there

that actually
draws the attention

of the audience we looking for,

then we need to add
or fix something.

You can't--
that's what I'm saying.

You can't just put a flashback
out of nowhere.

It was just like--

- But he look like somebody--
- Something has to-- this

This is what I'm saying. This
is what I'm saying.

That's what's going to get
people thinking like,

Hold up, why did they just
put that flashback there?

Exactly, but in order to have
a flashback,

something has to happen.

- Oh...
- See what I'm saying? Like,

We can't just--
- But let's--

Look, look, look

man, you can't just be talking

man, you can't
just be talking--

they're not doing a flashback.

They can put two and two
together like that.

This is what I'm saying.

In a flashback, let's say, me
and John is having a conv--

something like--

Y'all just keep walking
in the middle.

The one time I try
to get a shot.

Y'all gotta
start doing something.

Y'all know what to do?

Follow somebody
that's doing something.

Lens change.
We're putting in the, um,

Follow somebody
that's doing something.

Right here, on--

All hands on deck.

Okay?

Time is of the essence.

Time it somebody.

Go. Go. Go.

And then I use
the little thing,

Oh my God.

I'm amazing with this
in my hand.

So, like, amazing.

Pat came in there
with hella drinks.

Subs.

Straight up good. Fine...

Yes!

That's what
I'm talking about!

It don't take much
to make me happy, folks.

Like, everybody trying!

You know, it doesn't take
that much to make me happy.

Little things,

those moments where
you guys are coming together.

That's what I'm talking about.

Love it.

- Y'all ready?
- Y'all ready?

Alright, places,
places!

Places, y'all, places!

Can I get quiet on the set--
- Go back to the script.

Quiet on the set, okay.

So--
That's your breast.

Alright, quiet on the set!

Alright, look.

If you're behind the scenes,
I need you out of the shot

which is back there
by

and if you are actors, I need
you in your places.

Alrighty?

And try to get it
on the first one!

Top of the pilot.

Quiet on the set.
Quiet on the set.

Alright, so,

Cafe.

Take one.

Scene Five.

♪ All of the sudden
It's another self ♪

♪ It's another vibration ♪

♪ It's another state of seeing ♪

♪ We have may been here before ♪

♪ We may have taken this path ♪

♪ One time,
Long time ago ♪

♪ All of the sudden
It's another smile ♪

♪ It's another heartbeat ♪

♪ It's another style
of thinking ♪

♪ Who can recall ♪

♪ The flowers smell
differently and ♪

♪ Who can remember ♪

♪ The embraces weren't
this warm before ♪

♪ All of the sudden,
it's a different world ♪

♪ It's a different time ♪

♪ It's a different mode
of vision ♪

♪ All of the sudden
it's a different path ♪

♪ It's a different time ♪

♪ It's a different sun
in the sky ♪

♪ Warm feeling ♪

♪ Floods the world again ♪

♪ This time,
we're at the center of it all ♪

♪ All of the sudden
it's a different time ♪

♪ It's a different pace ♪

♪ It's a different melody ♪

♪ All of the sudden
it's a different self ♪

♪ It's a different purpose ♪

♪ It's a different direction ♪

♪ Now here, this way
unfolding ♪

♪ So clear, we're knowing ♪

♪ God is here, glowing ♪

♪ As our name ♪

♪ All of the sudden
it's a different sunshine ♪

♪ It's a different being ♪

♪ It's a different
state of mind ♪

♪ Growth can change us ♪

♪ And change can grow us ♪

♪ New can take us in ♪

♪ To the beyond♪

♪ And where ♪

♪ Suddenly
it's a different place ♪

♪ It's a different rate ♪

♪ It's a different
state of feeling ♪

♪ Oooh ♪