Martyn Pick- Warhammer Ultramarines 40k director and  Digital Artist
Early workEarly workEarly workEarly work


In 2004 he directed a big campaign in the UK which was the BBC promotional trailers for the EURO 2004 tournament. Live-action of famous European footballers were treated in an eclectic mix of painterly styles.
Soon after he completed his first live-action commercial for the UK. In 2006 he worked as animation consultant on Brett Morgen's documentary feature film Chicago 10.
In 2007 he started work as animation director on Franny Armstrong's climate change documentary feature The Age of Stupid (Spanner Films, Passion Pictures). He created the dystopian future of 2055 (after climate change has ravages the planet) that surrounds Pete Postlethwaites lone survivor in a global archive. To do this on a very tight indie budget he blended live action, CGI and matte paintings with a painterly, cinematic look. This award winning film was released to wide media interest, acclaim and box office success.
In 2008 he was commissioned by Film London and the London Development Agency to make "London" a five minute film celebrating the capitals edge and diversity in the run up to the 2012 Olympics. This made particular use of a technique he had developed in the test film "Blythborough" where he painted directly into live action footage using digital tools, making the digital manipulation of live action more direct and spontaneous. The resulting film produced by Th1ng was premiered at the Beijing Olympics.
He has produced more commercials using a fluid abstract approach to particle fx in the Zip lighters commercials. In a commercial for the annual Turner watercolour exhibition at the National Gallery of Ireland he further developed his digital painting technique. These were produced at Amazing Spectacles.
For the "Body Paint" commercial, art animationwith genuine impasto paintings convinced the viewer that it is real paint animating across the womans body. In the Thatchers Gold Advert that he directed for LUMA/The Unit, live action figures were integrated into rich digital paintings using the "painting into pixels" method. It was broadcast widely across UK TV networks and is the most mainstream use of the technique so far.

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