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Delivering in Dolby Vision Using an ACES workflow in DaVinci Resolve Studio, Glasman and Davis began preproduction by defining a warm, golden-hour period look for the film that was inspired by the layered colors of the original cell animation’s minimalist production design. Finished in 2K to enhance the soft, filmic quality of the rushes, the team had to cater to a variety of different deliveries, including Dolby Vision 2D/3D, SDR 2D/3D, and both HDR and SDR Rec 709. CG skies were used to reflect the expressionist, dramatic painted backdrops of the original animation, with purpose-built sets constructed against blue screen backgrounds. “While a lot of ‘Dumbo’ was built and shot in-camera with amazing sets and many extras, a decision was made early on that the animals and all the skies would be CG,” explains Glasman. Using an ATEM Television Studio HD switcher from Blackmagic Design as part of the DIT workflow, the