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When Dreamworks Animation began in 1997, it very much had a start-up mentality, and the company kept that entrepreneurial spirit as it has reinvented itself many times over the years.

We were a relatively small team then, just big enough to focus on one movie at a time. The number today is more like 1500 employees, and we are able to have many more production pipelines open. We are now typically working on three greenlit movies at the same time, with at least three behind those that are ready to fit into the next slot. At any given time, we might have eight or 10 productions in some stage of development.

Our first film, "Prince of Egypt," was released in 1998. It was a 2D animated film with a lot of CG effects in it - things like fire, or the effects around the parting of the Red Sea. People tried to come up with words for it. I think somebody called it a "tra-digital" film! I'm not sure that it fit exactly, but it was an interesting combination of words to describe our hybrid approach.

The kinds of visual effects we were adding were quite uncommon in any kind of animated film at the time, partly because CG was expensive, and partly because the registration of the CG elements with the 2D assets was a challenge.

At the time, there were not many software systems to do those kinds of things, which led to Dream- Works creating its own technology team. I was in the early group of folks added to the software development team, to begin building the tools that could support the kind of filmmaking we wanted to do. We made those kind of films with "Prince of Egypt," through "Eldorado," "Spirit," and "Sinbad."

After "Sinbad," we branched out into all CG films, trained traditional artists to use CG tools, and rewrote our toolset.

Research and development was the arm of the technology organization that was responsible for all the applications that the artists would use to make the films. Some of that was integration with third-party software like Maya, and writing plug-ins. We also did things like determining new algorithms, for example, for creating water solutions for the ocean surfaces in "Sinbad."
The general charter of R&D in those years was to push the envelope, to try to do more in an all-digital film than had been done before, bearing in mind the creative appetite of the show.