Thought this essentially one-man effort was worth a post.......
Tal Peleg, a Senior Cinematics Animator at Naughty Dog in LA (makers of The Last of Us and the Uncharted game series) has created a fan trailer for a theoretical sequel to EA's Dante's Inferno game.
Tal "single handedly took on scene assembly, editing, animation, lighting, matte painting and compositing" - you can see the results below. 
Pretty impressive.

Tal has put together a behind-the-scenes exposition as well featuring key artwork, colour boards, matte painting procedures, animation and simulation and more.

Matt Workman runs a blog called Cinematography Database, and his most recent posting is an interview he did with Sharon Calahan, who earlier this year was the first Director of Photography working purely in CG to be inducted into the American Society of CInematographers.

In the interview reference is made to Ms Calahan's contribution to the 1996 SIGGRAPH session "Pixel Cinematography". The coursenotes are available online here and are as pertinent today as they were in 1996.

The latest Global Cinematography Institute newsletter contains an interesting interview with SMPTE member and Bluescreen LLC principal Bob Kertesz and colorist Aaron Peak. 

They discuss the relationship between the Cinematographer and the post-production process.

Digital intermediate is an important part of the workflow of the films and other projects that I work on, and increasingly part of the creative process rather than merely for evening and balancing the flow of images, as I mention in my articles on The Lego Movie and Legend of the Guardians.

It's a bit different for us compared to live action DOPs in that our DI facility is in-house and we are able to start DI during production, rather than waiting until a shoot wraps. This means we can iterate in Nucoda and still resolve issues in compositing if required. 

Our lighting artists and compositors output grademattes that enable granular control over imagery in DI - for example separate mattes for characters and their components (such as eyes, face decals for Lego characters, teeth, and for important props and setpieces.

http://globalcinematography.com/teachers/imagemanagement.html