Dell’s end-to-end highest performance technology helped Dell VFX customers, Pixomondo and Important Looking Pirates (ILP), deliver projects and execute against creative visions quickly and efficiently for the films “ Snow White and the Huntsman ,” nominated for an Oscar for Visual Effects and “ Kon-Tiki,” nominated for an Oscar for Foreign Language Film, respectively. Dell Precision workstations also helped Tippett Studio bring “Ted” back to life to present the Oscars for Sound Mixing and Sound Editing alongside Mark Wahlberg.
“We are beyond proud that many of our customers were nominated and recognized for their great work at the Academy Awards® last night,” said Neil Hand, VP, Tablet and Performance PCs, Dell. “Dell’s goal is to provide our customers with reliable, secure and high-performance technology so they can focus on their creative workflows, key to being competitive in the entertainment industry, and spend less time worrying about IT.”
Pixomondo, an international VFX studio and longstanding Dell customer and partner, was enlisted as one of the VFX vendors on “Snow White and the Huntsman,” a UK-American fantasy film based on the German fairy tale "Snow White.” Pixomondo managed 261 character, environment and action shots in the movie and helped the film’s supervisors realize the design and style of many of the shots.“Every show comes with its own unique set of creative and technical challenges. On ‘Snow White and the Huntsman’ we developed methodologies to share data between multiple software packages, at times with artists in different offices working together on the same shot,” said Andrew Roberts, Digital Effects Supervisor, Pixomondo. “The demand to turn around high quality shots in a short timeframe is always present, Dell Precision workstations and Dell PowerEdge servers supported us every step of the way.” The film was an around-the-clock global effort by more than 200 artists across six of Pixomondo’s offices. Artists in Los Angeles, Burbank, Berlin and Toronto all worked on the opening battle sequence with each office focused on different shots, including the massive army, shattering soldiers, character animation and fire and smoke simulation. The work on the “storming the beach” sequence was also spread across several offices with Berlin artists creating volleys of fireballs, Beijing team members developing the crowd duplication and arrow shots and the Los Angeles office working on the development of digital soldiers on horseback. Additionally, Toronto artists delivered the dwarves and fire in the forest attack sequence and Shanghai helped the character, William, raid the wagon.
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