On Finding Dory, we decided to start with a completely new raytracing rendering architecture. None of our older authoring software worked, so we had to develop both renderer-facing building blocks and artist-facing tools to properly use them.

I created optimized shaders for things as complex as vector spaces transformations, and as simple as texture reading.

We adopted Katana as our shading tool, having previously been our lighting and renderer management tool. I worked on artist-facing workflows in Katana, including a custom shading-directed nodegraph that was subsequently used by others at the studio for quick prototyping of node-based workflows.

I allowed for cross-departmental sharing of data to allow modelers to bind shaders to geometry, allowing for an overall production win in time spent binding shaders.

I created a GLSL implementation of our in-house BSDF, including appoximating Beckmann specular roughness through filtering IBL maps.