Original subtitles

Provided by explosiveskull https://twitter.com/kaboomskull

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.

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.

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.

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."

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 wve

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.

- Ion'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'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 deterent.

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 deterents

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 deterent.

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 flashbk 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 do Hey.omething.

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.

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