The short animated 3D knife at the end of the Combat Choreography clip was the same knife I designed for the Turok character ten years ago. This mid 90's cover below was rendered in Lightwave by my brother Ricardo. It was based on my cover sketch for writer Fabian Nicieza's story of Turok being deceived into thinking the President was some sort of dinosaur double agent. THEN the story got really weird!!!...no.. I meant the REAL presidential story...heh...

Ricardo also helped me make 3D webshooters for an issue of Amazing Spider-Man that I worked on. Combining 3D images with ink art was rare at that time. One of the artists who uses it quite effectively is John Byrne who coincidentally became the writer on the Spider-Man books shortly thereafter.

I also drew the small comic that accompanied the Turok Nintendo game, which at that time was the best selling video game on the market. Btw, Ricardo now works on Playstation games as a CGI modeler. He's also the masked fencer with double rapiers in black coat featured in the clip!

Video is currently being uploaded into the youtube system. So check back in a few to see if the link works. Thank you.

This is a short sampling of some of the choreography that I do. I specialize in weapons and our group have several high end personnel who have experience in just about every martial art or weapon out there. Although no humans were hurt in the filming - We aim for realistic and gritty fare, so be advised.

Did this sketch for my friend, Ron Marz. (How cool is it that his name is MARz...get it?... MARz!!!...hee....)

Some bg - it's not exactly the way my design for the green men (especially the whacky tusks)
nor of the princess would be for the film, but it captures the found weaponry and makeshift
harness idea I wanted to include.

Also, JCoM is now reportedly a film at Pixar, so I'm saving all the real stuff just in case.

So I had this flat sheet of soldered metal that I added gel medium mixed with brass powder which I scanned and layered upon itself. I duplicated the layers over and over and then messed with the color saturations and the various layer modes.

I then erased portions of the layers using the eraser tool in P-Shop with brush settings that also had texture and shape dynamics on it so that it would organically reveal what was under each layer.
This became the color background.

I took a black and white image I did some time ago that I had made using Flash and then layered it over the color background. It was something that was once animated, very simple movements, etc. Just something I did to see how the Flash program worked.

I added a layer for the skin tones underneath the line work. I painted it quite thick and stayed with the rougher brush settings to keep the energy.

Tweaked the image some more using the Color Adjustment settings in P-Shop and the Glow tool.

This is all prep work for some bigger project, - a way to experiment a bit, make my mistakes, learn some shortcuts and take notes for future images.

So basically, none of this image exists in the real world except that chunk of metal that I scanned.

OLD Maarte INTERVIEW

From awhile back - Covers some old ground.