107:. While Baylaucq had "certain misgivings" about using military technology for his film, he secured permission from Lockheed Martin and the U.S. military as well as Canadian dance, production and directors unions to shoot the film in the United States, as this technology was not allowed to leave the country.
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thermal imaging cameras, but wasn't satisfied with the results. Commercially available thermography produces brightly coloured images, while
Baylaucq wanted high-definition cameras that could shoot in black and white, so images could be colourized afterwards. The director learned of an engineer based
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so they wouldn’t generate a heat signature themselves. They were also computer-dependent and could only record 2.5 minutes of footage before data needed to be downloaded, which also meant that dancers, wearing little in the cold building, had to stop every two minutes. The six dancers also had to
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118:, with floor-to-ceiling sets made of heat-reflecting aluminum panels, which were constructed and shipped by truck from Montreal. Cameras had to be cooled by
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and military operations, as well as for scientific and medical applications, but was never used to film dance until
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California, Arn Adams, who had developed an HD thermographic system for the company Focalplane, owned by
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42:. The 15-minute short film was directed by Philippe Baylaucq as part of his two-year residency at the
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received the international short documentary audience award at the
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in the Short Cuts Canada section before being screened at the
273:"ORA: Innovative thermal 3D dance film to premiere at TIFF"
245:"3D dance films Pina, Ora strive for cinematic innovation"
212:"The NFB film ORA, brought to you by the U.S. military"
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110:Production took place in an unheated warehouse in
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306:"Un court de l'ONF avec le Pina de Wenders"
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367:Realscreen
186:References
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73:Prometheus
52:José Navas
32:dance film
311:La Presse
69:Narcissus
40:body heat
340:Playback
250:CBC News
416:7 April
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318:7 April
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145:Release
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403:"Ora"
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169:Pina
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