Issue link: https://digital.copcomm.com/i/65901
Paving Their Way That started that in 2008, and he is still traveling. "I enjoy it, and when you land in a city you are an honorary local because you are working with people — you get to see what it's really like. It's interesting to see all the different creative angles." "Fourteen years ago, before becoming EP at NY's Absolute — 24-year-old Mel Wickham was backpacking through Europe and ended up in Lon- don with depleted funds. Wandering Carnaby Street she ran into acclaimed editor Richard Learoyd and struck up a conversation. Learoyd helped to secure her an interview at The Mill. SALAR SALEH From the time he was eight years old, Charlex CG supervisor Salar Saleh knew he wanted to create effects for TV and film. He started making practical effects as a child and teen, and moved on to digital visual effects in his college years. "I had seen Raiders of the Lost Ark," explains Saleh. "There were no computer graphics, just models, like a big skeleton and boulders that attack Indiana Jones. There were people throwing spears and there were snakes. All of that was rubber, plastic or animatronics. I thought it was the coolest thing, even though I didn't know how it was done." He might not have known how they did it, and he knew it wasn't real, but these "effects" created a reaction in him that he liked. "It was scary and cool; it kind of reminded me of a magic show, where you know they are doing something tricky but you're not quite sure what." So he threw himself into finding out how these spe- cial effects techniques were made, devouring anything he could get his hands on and seeking out behind-the- scenes segments and mak- ing-of documentaries. After his family moved to Wash- ington, DC, Saleh actually went to the Library of Con- gress and looked up old trade magazines that described the techniques that had been used. This was a driven kid. "When I was really young I was creating latex gashes and scars try to scare my friends and family. As I got older, around 15 or so, I looked into animatronics, and took over my parents' basement and kitchen making these crazy, scary creatures and puppets. They were really simple, rudi- mentary creatures and hands that would have mechanics you can control. Some I would mount on the wall so they looked like they were coming out at you. My par- ents were supportive and cool, even though a few times I clogged our plumbing sys- tem; and they had to replace the kitchen sink a few times." 24 Post • April 2012 www.postmagazine.com As he got older, Saleh's resolve didn't waiver; he was still intent on working in VFX, but when it was time for college he decided to hedge his bets and get a liberal arts degree "to make my parents happy and just in case the visual effects thing didn't work out." While at UCLA, Saleh took a few film and animation classes, but it was during his free time where much of his learning took place, teaching himself computer graphics at night. "My folks bought me a nice Mac and I got some software." He also befriended some professors in the animation program who shared their knowledge and their depart- ment's computers. "I basically spent nights learning on my own and making my own little animated projects. The rest of the time I was continuing on with the liberal arts courses." Each summer he made sure to intern at different types of companies. One time it was a graphic design company doing Web animation. The experience was valuable because he knew that wasn't what he want- ed to do. The next year he found his way to Station X, a small offshoot of Digital Domain's commercial computer graphics division. "I really didn't know what I was doing, but they were all very helpful and supportive — everyone was willing to teach and trust me." The busier they got, the more they sent his way. Eventually his work ended up in spots and films they were working on. When he graduated with that fall-back lib- eral arts degree, Station X hired Saleh as a full-time animator. Station X closed after a few years, and Saleh ended up at Netter Digital, which focused on animation for TV series. This allowed him to wear many dif- ferent hats, learning about mocap, compos- iting, lighting and color. After Netter closed down (the sad fate of many smaller studios back then), Saleh worked at Rhythm & Hues as a freelancer, then Digital Domain working on commer- cials, then at DreamWorks for a year-and-a- half as part of the VFX team for the 10-part miniseries Taken, produced by Steven Spiel- berg. It got nominated for a VFX Emmy. When that project ended he went back to R&H, a studio that Saleh says just felt like home to him. It was very much a family atmosphere there, and he learned an incred- ible amount. He stayed for there for eight years working as a sequence and digital supervisor on films such as Fast and Furious, Superman Returns, Happy Feet, The Golden Compass and The Chronicles of Narnia. While happy at Rhythm & Hues, Saleh wanted to live in New York. That was three years ago, and he has been with Charlex (www.charlex. com), working on spots ever since. And all because of Raiders of the Lost Ark.