Design and animation happened in close collaboration with editorial as the dream sequences could not be fully locked without previz. Editors cut-together preferred takes with storyboards and rough comps to help guide general timing. We worked closely during this edit phase to ensure certain takes and direction would indeed work. There were four sets of proxy files used in tandem across departments during post. Editorial cut with the Alexa proxies generated in-camera as ProRes LT. We would then receive shots with handles as ProRes HQ in Log. These plates were then quickly keyed and rendered out as half-res PNG sequences w/alpha to ingest into C4D for previz. The PRHQ plates were also transcoded to JPG sequences, baked with pre-color at Rec709, for the rotomation team to begin their drawover illustrations. Finally, we received higher fidelity ProRres 444 plates for all live-action VFX.