Co-director Johnson would go over each scene with the animators, sometimes acting out the scene, if necessary. The animators would create a "dope sheet"—in which a shot was broken down, frame by frame—to account for key "hits". The animators would then shoot tests of the scene, often shooting on "2s" or "4s" (meaning shooting just every second or fourth frame of what would appear in the final animation). Johnson explained: "The next day, when they'd finish their test/rehearsal, we'd cut it in and see how it played in the reel and fine-tune from there. We might do some lighting tweaks, performance tweaks or have the art department get in and touch anything that needed it. Then we'd close the curtain and let the animator animate the shot." The animators would sometimes make use of the voice and/or video recordings of the actors, a practice also common in cel animation. Once photographed, the frames were manipulated by a team of "data wranglers." Using a workflow developed by Chris Watts, the frames were downloaded from the camera image cards as RAW files, converted to Cineon files and processed through a "color cube." Cinematographer Pete Kozachik explained: "The color cube is a 3D lookup table created by FilmLight Ltd. that forces the image data into behaving like a particular Eastman Kodak film stock—in this case, 5248, one of my favorites. With this film emulation, we could actually rate our cameras at ASA 100, then take our light meters and spot meters and, with great confidence, shoot as if we were using 5248. Sure enough, the footage would come back and look just like it." The frames could be processed further to generate a TIFF file for viewing on the lighting station computer monitors so lighting, composition and color could be previewed.