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[mechanical buzzing]
[camera rattles]
[shaky breathing]
[distant television chatter]
[crane whines]
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".
[dreamy electronic tones]
(woman) Okay. (man) Alright, still rolling.
Moving into the experiment phase.
[dreamy guitar]
(man) Alright, rolling cameras. (camera) Rolling.
(man) Alright, let's roll sound. Roll camera.
(man) What's your role?
(woman) I want to get this out of the frame.
[group chatters]
[electronics whir]
[slate claps]
(man) Rolling, rolling. [murmurs]
Alright, and action.
(woman) 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.
[metal scrapes] (woman) 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.
[music continues]
(quietly) 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.
[sighs] 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.
Relax.
Keep them closed.
Open your eyes.
[music builds]
[water bubbles quietly]
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.
(man) 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.
[door rattles]
[footsteps]
Come on in.
[camera clicks]
(machine) Thank you. You have been identified.
[footsteps continue]
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.
(quietly) Hi.
[distant murmuring] [doors squeak]
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.
[somber music]
[door clicks and squeaks]
[keys clack]
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.
He writes:
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.
[music continues]
[music fades]
[muffled murmurs]
(man) We'll talk at the break--
Thank you so much. - You got it.
Alright, good morning. (group) Good morning, sir.
Look at all these-- I see a lot of familiar faces.
It's exciting.
[laughs]
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?
[dreamy electronic music]
[music fades]
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.
[switch clicks rhythmically]
[door squeaks] [distant voices]
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.
[machines hum] [distant voices]
[air hisses]
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.
[air hisses] 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.
[somber electronic tones]
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.
[dreamy music continues]
[music fades]
[mouse clicks]
[machine whirs] [keys click]
[mouse clicks]
[sighs]
[percussive mouse clicks continue]
[sighs]
(man) Trying to see if I can find somebody.
(McNutt) 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.
[clicking continues]
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.
[wings flap] [birds whine]
[wings continue] [birds coo]
[wings rustle]
[distant birdsong]
[birdsong fades]
[distant voices]
(Corso) 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?
[murmurs]
Body camera.
Right? It's in the title.
It should be on your body,
touching your body
at all times.
[body cam beeps]
[distant music and voices]
[door rattles]
[distant baby cries]
[electronic tones build]
The body camera operator both uses
and is part of the camera.
[high-pitched beep]
Most of the time,
the camera operator's body isn't seen.
[beeping]
The camera moves,
but we rarely see who moves it.
(officer) I like these ones down here.
When the operator speaks,
it narrates the image like a voiceover.
[distant voices]
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.
[muffled television voices]
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.
[clatter]
[slurping]
[clatters]
[child screams]
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.
[distant music]
A neutral witness,
free from the imperfections and bias of human memory.
But a blind spot is exploited.
(officer) Just cut back.
The frame of the body camera
erases the officer from its view.
[beeps]
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.
[dreamy electronic music]
There's always a body behind the body camera.
[music builds]
[music cuts abruptly] [distant voices]
(Tuttle) 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.
[machines whir and buzz]
(Tuttle) 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.
[machines whir] [distant chatter]
(woman) Hi! (Tuttle) 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.
[beep]
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.
[tasers buzz]
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.
[ominous music]
[tasers click] [music builds]
[sustained ringing music]
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.
He writes:
"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."
[music continues]
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.
[music continues]
[music cuts] [beeping]
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...
[wings rustle]
[distant birdsong]
[thuds]
[pigeon camera rattles]
[ducks quack] [pigeons coo]
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.
[taser clicks]
[bang] [taser buzzes]
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.
[taser buzzes]
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.
(cameraman) Great. Freeze. I'm gonna track out for a second
to give us more tail on the end.
(man) One, two, three, four, five,
- Cut. - Okay.
[mouse clicks]
(man) Okay, so the video you recorded
has been uploaded to Evidence.com.
Now we'll go ahead to our player screen.
And press play.
[beeping]
[bang] [taser buzzes and beeps]
The camera records an image of an event.
[Tuttle speaks on video]
But the image does not speak for itself.
[taser buzzes]
To be considered in a court of law,
any piece of evidence must be both authentic
and relevant to the case.
(Tuttle) He's complied.
This person is completely controlled. [click]
(actor) 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.
[sounds from video]
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.
[taser buzzes]
An opportunity arises.
[slowed video speech]
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.
[foreboding electronic music]
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."
[music fades]
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.
[silence]
Not even halfway there.
[murmuring]
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?
[dreamy music]
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.
[murmuring] [music continues]
(officer) We are 31! Shots fired! Shots fired!
(Corso) 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--
[music continues]
[rhythmic tapping]
[music fades] [tapping continues]
[taps]
[faint applause]
(director) 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.
(woman) Okay. Just watching it-- - And that's--
You're just watching-- [crew murmurs]
You're just-- you don't even see this.
You don't see the entire film crew.
- Okay. - Right here and--
Yeah.
(director) Alright, let's, uh, reset to one.
Let's have the string pullers standing by.
(woman) you're good--
[mouse clicks]
(McNutt) 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.
[mouse clicks]
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.
(McNutt) Um...
I believe God sees everything.
And that he not only sees
where you are
but also what you're doing
[calm guitar]
and we see very very small parts
of what I believe God sees.
(McNutt) Uh... yes.
I can do that.
Well, it's one keystroke for me.
Backwards in time.
[mouse clicks] [music continues]
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.
[music fades]
[officers murmur]
(Corso) 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?
(female officer) Correct.
When they talk about professionalism,
what do they mean?
(Corso) It means the cameras are going to document
all of our actions.
Right?
[officers murmur]
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.
[gasping and clatter from camera]
(officer) Is this a shooting?
(Corso) Yeah.
You wanna pause.
Good to go.
(man) Alright. [officers murmur]
[indistinct voices and rattling]
[screams]
(man) No.
(officer) He just said drop something on Wilkerson?
[officer laughs]
(Corso) Alright. [officer laughs]
(male officer) Why don't they show this so the public can see
what we film can be bull crap. [officers murmur]
[camera thuds] [officers talk and laugh]
Internal-- IDs should be watching this.
(Corso) 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?
(female officer) Mhm.
And what happens at the end of the foot pursuit?
(male officer) He falls. - Who's watching? What happen--
What happened to this gentleman at the end of the video?
(female officer) Let me tell you what happened to him.
[laughs]
I didn't like the fact that the way
he was pulling something out
from his waistband.
He knew it was just his phone.
(Corso) Yeah.
(male officer) The recording-- - Well yeah, you know what--
(Corso) You see him reaching all over the place.
Yeah, that there.
(Corso) Even before all that, what happened?
What happened right here?
(officer) It looked like he needed to head--
(male officer) He fell. - He f--
(officer 2) Well, we get the sound...
He's tripping.
(Corso) He's falling right now.
[officers murmur over speaker]
- Oh he's falling. (officer) His legs are giving out.
(Corso) His legs are giving out.
(Corso) We thought he was gonna bob and we
inbetween some parked cars and you know,
It didn't work out.
(male officer) 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? [camera thuds]
(female officer) But that's something sticky though,
it look like him reaching for something like--
[officers talk over each other]
- Right. - So he could have a gun--
I've seen it.
(Corso) Right.
So,
his legs give out.
He runs to the back of the pickup truck.
He falls down.
And he immediately starts yelling what?
(officers) You hit me!
(Corso) They hit me.
[officers mock video indistinctly]
(Corso) Record.
(male officer) You dropped something on Wilkerson.
(Corso) Who's he-- who's he saying record to? Us?
[indistinct] - His homeboys!
(officer) [laughs] He say he dropped the drugs
on Wilkerson.
[officers laugh and chatter]
(female officer) He dropped the drugs on Wilkerson.
(Corso) So was there--
was there any unreasonable force used there?
Was there really any force - No!
- used there at all? - No.
(Corso) 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.
[camera rattles]
[pigeons coo]
[camera continues to rattle]
[distant voices]
[machine whirs and whines]
[assembly lines rattle]
[parts click together]
[machines continue to rattle]
(Tuttle) 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.
[machines whir and click]
[dreamy electronic music]
[music builds]
[music continues]
[steady electronic tones]
(director) Okay, and cut.
Woo! I think that was it.
- We've done it! [applause] - Great job guys.
Oh my God.
[sighs]
(woman) Uh, okay, are we done with these--
are we done with the special effects?
(director) We are done with the special effects.
(man) We don't want immigration.
What? We want the-- what? Fair in power.
So when you leave here with your documentary,
Right?
(McNutt) Oh no, no, this isn't a documentary.
(man) Whatever, whatever, whatever it is.
(McNutt) 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.
(Archie) 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--
(man) 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.
(McNutt) You're gonna be--
- I'll come back. - You'll come back?
You sure? - I'm coming back.
- In't just walk. (another man) Yeah, but--
- Alright. - ... talking about.
(McNutt) Gotcha.
(man) And you can use whatever you wanna use!
My mom might like to see me on TV.
[laughs]
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.
(man) 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 (men) 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. (Archie) 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.
[crowd murmurs]
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.
(McNutt) 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?
(McNutt) 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--
(woman) But maybe somebody else doesn't.
But I-- [stammers] 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.
(McNutt) Yes.
And so, that operation was paid for by a private individual.
(McNutt) 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.
(man) 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.
(McNutt) We are here
presenting that information.
(man) 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.
(Archie) Thank you for coming.
(man) Yes, Archie.
(McNutt) Archie, do you want to address any of that?
(Archie) I'll deal with that
(McNutt) Okay. (woman) 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. (men) we are under surveillance.
You are under surveillance.
- Right. - Mhm.
(woman) 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.
(man) 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--
(man) And-and first of all,
W-wait, wait, wait.
(man) 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.
[murmurs]
The truth is
- What truth? - is that--
- What truth? - The truth is--
What truth? The truth.
[community speaks over each other]
- That's the difference-- [ominous music]
(other man) --come in, combative.
(woman) Yes! - It's not combative.
It's not combative! [speaking gets louder]
No, it's not combative!
(man) 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?
(yells) 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
(another man) Let him, let him, let him.
(yelling man) then you oughta be willing
to apply something that would curve it!
(man) He's here, he's here.
(yelling man) No, he's not here!
(other man) He is here! He is here.
(man in hat) Where am I?
(yelling man) You see first of all,
I'm a pastor in this community.
(other man) What are you doing?
(yelling man) I'm a pastor here!
(woman) What are you doing?
- I'm trying to tell you now-- [people speak loudly]
- Tell him to come back-- - That your boys up there on--
[yelling continues]
[electronic music drowns out shouts]
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.
[music continues]
[shaky breathing]
An act of seeing is always an act.
An intervention into the world.
We do not see the world.
We see this intervention.
[deep inhale]
The frame excludes a world beyond its edges.
But if we look hard enough,
there's always an edge that creeps back in.
[music shifts to dreamy melody]
[door shuts] [music cuts abruptly]
[car warning tone] [seatbelts rattle]
[door thuds closed]
[tone stops] [seatbelt clicks]
(director) Alright, so,
this is ready to go. I'm gonna-- [beeps]
Red is recording right?
(cameraman) Yep.
(director) Alright.
[beeps] Do we wanna, just--
[slate clacks]
(director) 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.
[drone whirs]
[camera beeps continuously]
[beeping continues] [ominous music grows]
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?
[music continues]
[door clicks]
(woman) So we're zooming in
on, um, license plates that are clear enough,
[mouse clicks]
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.
[dramatic music]
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.
[beeps] [car door thuds]
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.
[dreamy music]
The bureaucratic labor of the police officer
is outsourced to Axon's automated system.
[car whirs] [gravel crumbles]
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.
[grass rustles] [murmurs from radio]
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.
[radio beeps] [voices murmur]
It feels like watching a corporation dream out loud.
[drone whirs]
A seamless world where every tool
has met just the right situation for its intended use.
[rumbles] [taser whooshes]
History converges on the present.
Weapon.
Eye.
Archive.
Interpretation.
Automation.
From what history does the future dream?
[music continues and builds]
What I say to the conversation is--
[men murmur]
What have you is you have data.
(McNutt) Right.
(man) And, and, and--
(older man) It won't work.
- In my opinion, - It will not work.
data can be manipulated.
It can be adjusted or whatever.
[men speak over each other]
(man) They commit crime.
(older man) You gotta put your feet--
(Archie) Let's get that understood.
This is not the City, this is not--
This is not Baltimore Police Department.
(man) 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?
(McNutt) Yes.
We can look on the internet and-
(McNutt) 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.
(man) The tier-- the tier (older man) Let me stand up!
of crime 'cause the person who wants to commit the crime
will figure out that somebody's- (McNutt) That's right.
- And that's actually-- (Archie) That's it!
(McNutt) That is the biggest objective.
(Archie) That's it!
That's all! [laughs]
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!
(man) 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.
(man) They don't care about that though, sir!
It's video cameras-- Listen!
Yo,
when the riots and all that stuff happened
(Archie) 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-- (men) Right.
(woman) 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.
(man) Imma correct myself.
Okay.
It's systematic.
The system has to change
for people to see growth and progression.
(man) Exactly.
(pastor) May I say something? (man) Yes sir.
(Archie) Go ahead. (pastor) Listen.
This is
step number one.
And I'm asking you,
like I've asked everybody.
(McNutt) 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?
[stammers] But, it-- it-- hey.
if you do that,
then you will make it palatable to the community.
(McNutt) We're trying our best.
Thank you, Pastor.
I really appreciate it.
I think we probably oughta pull this together.
(men) 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... [piano begins]
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.
[dreamy piano]
(neuroscientist) 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?
(participant) Well, uh, yeah, I saw a bunch of images.
The most interesting ones were
either helicopter or drone shots?
[people murmuring]
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.
(Corso) 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.
(ITS) Henry 392.
Frank 171.
Henry 392.
(neuroscientist) So, how did these images make you feel?
(participant) 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.
[camera rattles] [piano music continues]
(Davis) 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.
(director) So, we're rolling. I'm gonna come over,
and you're gonna show me how to hold it.
(Corso) 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.
(neuroscientist) Tell me a little bit more about
how it felt to be filmed in this setting.
Hm...
It felt kinda, you know, [stammers]
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.
(Corso) Make sure you paired with the right camera,
and point the camera at yourself.
You should see yourself. [laughs]
If you see somebody else, you messed up.
Yeah.
(female officer) Oh, I can see myself!
[laughs]
(Davis) 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.
(neuroscientist) Did these images
feel connected in any way?
Or did you feel there was a narrative being formed?
[piano builds]
[music cuts] [camera beeps]
[classroom murmurs]
(officer) Say hello to the camera.
Hello to the camera.
[murmurs continue]
Hi. [beeps]
(director) Alright, let's do this.
Okay, we'll just do this in one take
(pigeon trainer) Do you want me to put it in now?
[beeping] (officer) 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. [classroom mumbling]
- That's what I did. - And then,
- Like this right? - And then your light--
You're still recording. [laughs]
Alright.
I just like--
And just toss it up.
[wings flap loudly]
[pigeon coos]
[beeping] (Corso) We want it--
This is my first day getting my body-worn camera.
I'm so excited.
(Corso) ...and enter information.
There are three different fields on that playback window
to enter in information.
The first one-- - Six.
22. 2017 Testing.
(Corso) ...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.
[wings flap loudly]
[silence]
[distant voices speak] [camera rattles]
[door thuds and squeaks]
[people chatter indistinctly]
[chairs rattle]
[thud] (teacher) We're filming!
(student) Ay, yay, yay. (teacher) ...you met Theo before?
(student) Did you get any shots though?
(director) Yeah, I was mostly making sure
the camera was calibrated for the room.
[silence]
(man) What camera, would you know?
(director) The FS5.
(man) So this is what you, this is your personal one?
(director) Yep.
- Doc! - Yessir.
(camera) Getting behind the scenes.
[students murmur]
(camera) Okay, we're just setting him up
with his little, uh--
I'm recording.
Check, check, check.
(student) Alright, so, that's good. But anyway.
(student) 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.
[silence]
(student) 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
(student) 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--
[silence]
(student) [indistinct] something like--
Y'all just keep walking in the middle.
The one time I try to get a shot.
(Dr. Patterson) Y'all gotta start doing something.
Y'all know what to do?
Follow somebody that's doing something.
(student) Lens change. We're putting in the, um,
Follow somebody that's doing something.
(another student) Right here, on--
[indistinct]
(Dr. Patterson) All hands on deck.
Okay?
Time is of the essence. [students murmur]
Time it somebody.
Go. Go. Go.
[boys murmur] [flash clicks]
(student) And then I use the little thing,
Oh my God.
I'm amazing with this in my hand.
So, like, amazing.
(student) Pat came in there with hella drinks.
Subs.
Straight up good. Fine... [murmurs]
Yes!
[students murmur] [flash clicks]
(Dr. Patterson) 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.
[coughs and laughs]
[students murmur]
(student) Y'all ready? - Y'all ready?
(student) 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-- (student) 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 [indistinct]
and if you are actors, I need you in your places.
Alrighty?
(student) And try to get it on the first one!
[thud] Top of the pilot.
Quiet on the set. Quiet on the set.
Alright, so,
Cafe.
Take one.
Scene Five.
[slate clacks]
["All Of The Sudden" by Laraaji]
♪ 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 ♪