The plot for "Dreamkeeper" involves a Native American tribal elder on a road-trip with his grandson, recounting his tribal legends as they were told to him - in order to keep the legends alive for future generations. The bulk of the postproduction work focussed on creating the unique mythical worlds that the stories conjure up.

Glassworks' 3D, 2D and R&D teams worked together with Nick Brooks, who won an Oscar for his vfx work on the 1998 film "What Dreams May Come", where a 'painted world' is the afterlife, a world in which the environment is a constantly changing impressionist painting. Brooks was looking further evolve the optical-flow driven particle system techniques he had used on this film.

To construct the 'Land of sky Woman', giving the impression of a magical and mythical world, Glassworks began by using footage shot on stereo lenses which provided a single frame with two images, parallel to each other. These images were then combined and analysed using Re:vision plug-in in Adobe After Effects to extract z-depth information.

The z-depth enabled Robin Carlisle of Glassworks' R&D team to generate particles in a 3D space from the 2D image. Another plug-in provided vector motion information allowing particles to be emitted based on the motion of each shot thus creating a sense of an ethereal world, where Sky Woman becomes part of the natural environment surrounding her.

Glassworks' R&D team also used their custom built CloudShader to add realistic looking 3D clouds throughout the sequence.