SCREEN & STAGE COMBAT
Fight choreography covers unarmed action, sword fights and weapon-based screen combat — from historical systems to contemporary production needs. Movement is adapted to the performers, location and shot design.
Action Design & Media Architecture
SAFE ON SET.
Fight choreography, action design and motion capture — built around the
camera, not the floor.
30+ YEARS IN MARTIAL ARTS.
30+ YEARS IN IT OPERATIONS.
PRECISION FOR THE CAMERA.
SAFE ON SET.
EPIC ON SCREEN.
Fight choreography, action design and motion capture — built around the
camera, not the floor.
30+ YEARS IN MARTIAL ARTS.30+ YEARS IN IT OPERATIONS.
PRECISION FOR THE CAMERA.
ADDRESSEASY TO SHARE
g-combat.comSAME BRAND. SHORTER ADDRESS.
SELECTED PRODUCTIONS:
SUBWAY TO SALLY // FEUERSCHWANZ // VICTORIUS // EXPELLOW // CINECAS FILMPRODUKTION // OMNI
G.A.M.E.
Production Services
FIGHT CHOREOGRAPHY
FIGHT CHOREOGRAPHY
FOR CAMERA.
GYARMATI COMBAT designs physical action for film, television and music videos. The sequence has to serve the story, work for the camera and hold up across takes.
FIGHT CHOREOGRAPHY & ACTION DESIGN
Beat breakdowns, rehearsal plans and risk points give the production team a clear route from concept to set. Action is designed for repeatable timing, usable angles and controlled execution.
Based in Bielefeld, North Rhine-Westphalia (NRW). Available for productions across Germany and internationally by arrangement.
Selected Credits / Film · Movement · Systems
Selected
Work.
Selected work across action design, specialized movement and system architecture.
01 / 04
Film & Action
Selected productions
01
Expellow
“Ten of Swords” / Music video
Fight Choreography · Stunt Coordination · On-screen Antagonist
02
CODE OF SURVIVAL 1
Schatten & Flamme
ACTION DESIGN · CAMERA · EDITING & COLOR · ORIGINAL SOUNDTRACK
Behind the action / Expellow
My contribution
I developed the sword fights on the shooting day and prepared the performer through on-set rehearsal, adapting the movement to her strengths, the camera and the available time. My contribution covered fight choreography and stunt coordination for these scenes; I also appeared on screen as the masked antagonist.
Direction & production: Mirko Witzki / WITZKI VISIONS.
Behind the film / Code of Survival 1
My contribution
I contributed action design and choreography input to the project. On the event day, I operated the camera for documentary coverage. My film work included editing, colour grading and sound; I also produced original soundtrack material and created preparatory and promotional content.
03
Subway to Sally × Warkings
“Stahl auf Stahl” / Music video
FIGHT CHOREOGRAPHY · STUNT COORDINATION · ARMOURED PERFORMANCE
Behind the action / Stahl auf Stahl
My contribution
For “Stahl auf Stahl”, I developed and rehearsed the armoured fight sequences, combining sword combat, unarmed exchanges and choreographed throws in full steel armour weighing approximately 25 kg per performer.
My responsibilities included preparing and coordinating the combat action with a second performer, managing safety within the fight sequences, and supporting the performers involved in the final armour reveal.
I also performed on screen as one of the two armoured fighters.
04
Victorius
“Kingdom of the Strong” / Music video
ARMOURED PERFORMANCE · SWORD MOVEMENT · PERFORMER PREPARATION
My contribution
For the Victorius music video, I portrayed a medieval armoured character representing the singer's former self.
My work focused on creating a convincing physical presence through controlled sword movements, weapon handling and character-driven performance.
I also provided and prepared the armour and swords, fitted the armour for the singer, and supported his preparation for the final reveal.
05
Feuerschwanz × Doro Pesch
“Valhalla” / Music video
ACTION DESIGN · FIGHT COORDINATION · ARMOURED PERFORMANCE
My contribution
For "Valhalla", the music video collaboration between Feuerschwanz and Doro Pesch, I joined the production with a group of ten additional combat performers.
My responsibilities included preparing and equipping our group with armour and weapons, developing and coordinating its battle movements, and overseeing safe execution within our assigned sequences.
I also performed on screen in full Gothic steel armour weighing approximately 25 kg.
Direction & production: Mirko Witzki / WITZKI VISIONS.
02 / 04
Specialized Work
Historical fencing / tailored preparation
Henrik Gyarmati brings 15 years of historical fencing instruction to stage work and individual research.
01
Scaramouche
Stage Combat · Ensemble Preparation
For the 2025 Burgspiele Landstuhl production at Burg Nanstein, I developed and delivered two days of practical historical swordplay training for approximately twelve theatre ensemble members. I provided the training weapons and introduced Renaissance-inspired rapier techniques, movement principles and stage-oriented sequences suitable for performers without fencing experience. Martin Lünkemann supported the practical demonstrations through Drey Wunder e.V.
02
Adaptive Swordplay
Historical Combat Consulting · Individual Research
How could a visually impaired medieval fighter defend himself? For a historical novelist with severely limited vision, I developed a tailored practical session exploring sword-and-shield mechanics, tactile blade contact, pressure, distance and close-range responses. The aim was to make these physical principles tangible and help the author develop believable combat scenes for a fictional character living around 1250.
03
Filippo Serra
Stage Action · Performer Preparation
I prepared Berlin-based movement artist Filippo Serra for an upcoming stage production in Italy through an intensive private training session. We worked on Italian Renaissance-inspired one-handed sword principles and a practical teaching structure for performers without fencing experience. Together, we explored character-driven combat, an impaired soldier's movement and alternative ways to stage a minor sword injury.
03 / 04
Motion & Performance Capture
Specialized Movement Expertise
I bring historical European weapon combat into digital productions — from sword and shield to two-handed weapons, armoured movement and physically credible reactions.
Design Movement
Developing fight choreography and movement concepts based on historical European martial arts.
Perform for Capture
Providing physically credible weapon and body movement for motion-capture productions.
Coach Performers
Teaching and directing performers to reproduce realistic timing, distance, weapon handling and body mechanics.
My background combines more than 30 years of martial arts experience with practical exposure to motion-capture technology as a movement performer in biomechanical research at Bielefeld University.
04 / 04
System Architecture
Selected systems and platforms
06
OMNI G.A.M.E.®
DIGITAL SYSTEM ARCHITECTURE
For the OMNI G.A.M.E. training format, I designed and developed digital infrastructure connecting website content, registration workflows, participant management and platform access. My work includes interface design, the technical implementation of OMNI CODEX and integrations supporting subscriptions, payments and seminar operations. My responsibility is the digital architecture and its implementation — not ownership of the training concept or brand.
View system
07
IT OPERATIONS
INFRASTRUCTURE & INTEGRATION
With over 30 years in professional IT, my experience covers everything from hands-on hardware and network deployment to IT leadership and end-to-end systems administration. I have operated business-critical environments involving servers, virtualization, firewalls, backups, software integration and multiple locations. My focus is not one isolated technology, but keeping the complete infrastructure reliable, maintainable and operational.
View profile
08
AI-ASSISTED SYSTEMS
AUTOMATION & ORCHESTRATION
GHOST.OS shows what I build: a personal system of three connected applications for operations, projects and finances. AI models, agentic workflows, automation and integrated data make them work together. The use case changes; the method carries over. I design and build AI-assisted systems around real operational needs, with human oversight and verifiable results.
Read work log
FIGHT · SCAN · IMPROVE
CHALLENGE.3W
HEMA COMPETITION SYSTEM
Co-developed with Martin Lümkemann, CHALLENGE.3W connects historical fencing competitions with digital data capture and analysis. QR-coded fighter results feed a cloud-based database, producing configurable rankings, live event statistics and reports. The system was developed before my current AI-assisted workflows and demonstrates practical system design built around real competition requirements.
EXPLORE PROJECT
The Operator
HENRIK GYARMATI
PRECISE. SAFE. REPEATABLE.
EXPERIENCE
30+ YEARS MARTIAL ARTS
(Weapons-based & Unarmed)
(Weapons-based & Unarmed)
SYSTEMS
30+ YEARS IT OPERATIONS
(Planning, documentation, risk)
(Planning, documentation, risk)
RANKS
3. DAN KARATE & JU-JUTSU
1. DAN ESKRIMA
Master at Arms — HEMA Veteran and Competitor
1. DAN ESKRIMA
Master at Arms — HEMA Veteran and Competitor
TITLES
EUROPEAN CHAMPION (FMA)
HEMA COMPETITOR
HEMA COMPETITOR
SCOPE
FIGHT CHOREOGRAPHY // FIGHT DESIGN // MOTION CAPTURE
SYSTEMS
THE OTHER THIRTY YEARS
Action is a system problem before it is a physical one.
Three decades running IT operations, in parallel and to the same depth as the combat side. A fight that works once is a stunt. A fight that works on take nine, from three angles, with a stand-in and a tired crew, is a system. Sequences arrive documented — beat breakdown, risk points, contingency. Nothing on the day depends on anyone remembering.
WEAPONS
ACROSS SYSTEMS, NOT ONE STYLE
Longsword, sword and buckler, staff, stick, blade and empty hand. Instructor level in European historical martial arts and in Filipino stick and blade work, with competition record in both. The system is where the movement comes from. The scene decides what it becomes.
ARMOR
HEAVY METAL ON SET
Full-service armored combat, with up to three complete medieval harnesses available on call. Historically accurate fencing or cinematic movement, whichever the scene needs. Detailed working knowledge of the second half of the fifteenth century — combat, equipment, daily life. Period accuracy that survives a close-up.
CAPACITY
TEN FIGHTERS ON CALL
Up to ten trained performers with stage combat experience, available on request. Music video, film, media and live events. Available across Europe, worldwide by arrangement.
PRODUCTION & CREATIVE NETWORK
SELECTED COLLABORATIONS
WITZKI VISIONS
FILM PRODUCTIONMusic-video and action-production collaboration.
HOT WELLENSIEK
YOUTH & CREATIVE PROJECTSFilm projects and stage-combat workshops.
DREY WUNDER E.V.
HISTORICAL FENCINGHistorical fencing, training and educational collaboration.
RUSTY REEL STUDIOS
FILM STUDIOProduction facilities and previous on-site collaborations.
OMNI G.A.M.E.
TRAINING SYSTEMSDigital systems and training-format collaboration.
Availability & Booking
START A
START A
BRIEFING.
Every quote depends on the same five parameters: dates, location, scope, format and budget frame. Give me those up front and you get a real answer instead of a follow-up question.
Direct
office@g-combat.com
Response within 48h on working days.
Languages: English / German (on set).
Based in Bielefeld — available Germany-wide and international.