By TAYLOR VAN ARSDALE Special to the Daily Press
When you’re single what could be more exciting than a party hosted by 10 Cane Rum and Belvedere Vodka, thrown by one of Santa Monica’s post-production facilities featuring the music of DJ Jason Bentley?
The party kicks off the launch of “Elicit Effects” — the visual effects division of West Post Digital. Todd Brown, who opened WPD almost 10 years ago, recently had an opportunity to purchase a “flame machine” but needed a creative operator. Enter Les Umberger, senior flame artist and creative director, just wrapping up a “Smashing Pumpkins” music video and whose client roster includes: “No Doubt,” “Ludacris” and “Justin Timberlake.” With his shoulder length blonde hair and his green velvet Roberto Cavalli jacket, he looks like a modern day version of Brian Jones. I ask him about his company’s name. Les likes it because, “it means to draw something out of something else, which is in effect, what I do, but people hear it and it connotes something dangerous and I kind of like that”, he says, laughing naughtily. When he does, I catch a quick glimpse of a pierced tongue. I still have no idea as to the nature and job of a “flame artist,” but I know one thing, Les is sexy — there’s no doubt about that.
He gets busy and I mingle, meeting up with Pepper Carlson, a producer from Motiv Films — she has never heard of Elicit; she’s been invited through WPD — her company has rented out the stage for a commercial shoot. I make note to catch up with her later, but now, the dance floor beckons.
With its 6,000 square feet, and Bentley spinning, the party has “wild rave” potential, although the crowd is fairly sedate and no one’s dropped X save for the lone freak dancing adjacent. X-Boy pulls me into him, indicating a “dry humping” motion. I pull away. It’s not that I have a problem dry humping someone, just not on the first dance. He turns to the crowd, then back to me, “They’re waiting for you!” he screams. “Who is,” I ask, wrongly expecting a coherent answer. “Everyone!” he counters. Okay, X-Boy, I’m outta here. Then, he grabs my arm — this could be a long night. He staggers a bit, as if he’s going to articulate something … anything … then finally he blurts, “Justin Timberlake is here!” I laugh. Timberlake may be in many places but I highly doubt he’s here (this fact is confirmed days later). X-Boy demands to know where I’m going. I tell him the bar; assuring him I’ll be back. He’s certain I’m lying; that I’m ditching him. He’s right of course. Why of all moments to be lucid does he pick my exit strategy?
During my getaway, I run into a short guy with a face like a pig — a pig that’s been mauled by a semi. Pig Face is drunk. He paws me, as I try to squeeze by, lamenting he wants to dance but fearing people will stare. Guys, here’s a little piece of advice. If you’re ugly as dirt, dance away... no one’s looking at you now, they’re sure as heck not going to be looking at you once you hit the dance floor.
After several hours, I’m exhausted, too tired to wait for Bentley, plus the quest for available men has been an utter failure, so I decide to leave; with no better clue as to what a flame artist does.
Several days later I’m at WPD interviewing Les in his office, which features artwork from Gary Taxali and Shag, watching a compositing spot he created for Honda. In the original, the Honda drives by, nothing extraordinary in the background. In the final, the Honda drives along in … Beijing. The quality’s impressive; I’m amazed at how real the spot looks. There’s even a curvature to account for the wide-angle lens distortion seamlessly integrating the background into the finished composite.
The “flame” it turns out, is visual effects software — an image integrator. What makes this studio unique? Les doesn’t retain an in house staff, but rather expands and contracts the company on a per job basis, custom designing it to his client’s needs. This saves the client money, but most importantly without “a bunch of generalists” on staff, the project’s completed with the highest caliber talent.
After we’re done, I check out the space where the party was held only several days prior. Pepper and Motiv’s Creative Director and owner Eric Bute are shooting launch materials for Spike TV’s “Pros vs. Joes.” Bute opened Motiv in 1999, running it out of a little “shack” in Venice — primarily for commercial production, they are now located across the street from WPD, and branching into scripted television and films. Both Bute and Pepper are articulate and thoughtful and I get the feeling their clients are in the most capable of hands. Yet, neither knows anything about Elicit. But then, two days ago I had no idea what a flame artist was so I’m certainly not about to hold it against them. This little Santa Monica enclave is filled with post-production facilities and hip spots, but not enough single men. And FYI, Les has a girlfriend, so the quest continue...
TAYLOR VAN ARSDALE is a writer/producer and movie reviewer for the Daily Press. She
Originally published in the Santa Monica Daily Press print edition on November 23, 2007. Read the original PDF.