When Alexna Meade became artist-in-residence at Perimeter Institute, she noticed physicists often had dust on their clothing. It was the chalk dust (mathematicians and physicists seem to prefer slate boards and chalk to white boards). She did a bit of interesting art.
A recent talk by Pete Docter - one of Pixar's star writers, animators and director for Up! and Inside Out. (about 54 minutes of audio .. poor interface) A dive into the process at Pixar.
And a piece on some of the technical details involved in the upcoming film The Good Dinosaur. (those who like coming to a film completely fresh may want to skip this one)
To accomplish the task of creating over 200 shots of a running river, the effects team created seven or eight different river pieces that they could combine like LEGO building blocks to fit any scene of the film. When properly combined, no one will notice they are seeing the same sections of river over and over again. Director Pete Sohn referenced Steven Spielberg’s Duel, which was filmed using one small section of highway over and over again.
The Good Dinosaur had over 300 terabytes just for the effects data alone. For comparison, that’s ten times more than the effects data for Monsters University. Just the big sequence of Arlo being swept away took up 17 terabytes, or more than the data for the entire production of Cars 2 including all the characters, environments, and effects. Pixar’s storage and network had to be significantly upgraded to handle the effects workflow of The Good Dinosaur.