ADAM BRASHAWFIGHT COORDINATOR / ACTION DESIGNER

ADAM BRASHAW / FILM & TELEVISION

STORY-DRIVEN
ACTION.

Fight coordination & action design.
From the first idea to the final frame.

Explore the work ↘
CHARACTER. STORY. IMPACT.BASED IN THE UNITED KINGDOM

01 / THE APPROACH

Every project has a tone.
The action should speak its language.

Action with character.
A cinematic identity.

I’m Adam Brashaw, a UK-based fight coordinator and action designer working in film and television.

I start by identifying the unique tone and cinematic language each project requires. From shooting style and framing to camera movement and editing rhythm, I shape the action to feel part of that world — and bring its character to life on screen.

That visual approach works alongside the characters: who they are, what they want and what they stand to lose. Choreography, performance and camera develop together, so every sequence serves both the story and the distinct style of the project.

THE EXPERIENCE BEHIND THE DESIGN

A lifetime in action.
One complete perspective.

Twenty years of filmmaking. Seventeen years in stunts. Every part of that experience informs how I design action today.

20Years of filmmaking
17Years in stunts
2Martial arts black belts

From performing the action
to shaping the whole sequence.

My background spans stunt performance, martial arts and award-winning directing. I’ve spent years understanding action from inside the frame: the physical detail, timing and commitment that make a performance work.

As a filmmaker, I bring that experience together with an understanding of story, shooting style, framing and editing. The result is an approach to action design that considers both what the performer does and how the audience experiences it.

Experience at the highest level.

Across 17 years in stunts, I’ve doubled actors including Ryan Reynolds, Michael Fassbender, Charlie Hunnam and Jeremy Renner — as Hawkeye in Avengers: Age of Ultron.

I hold two black belts in martial arts and am an award-winning director. These disciplines come together in my design: physical precision, an eye for cinematic storytelling and practical experience of bringing action to the screen.

PRODUCTION EXPERIENCE INCLUDES

  • Harry Potter
  • Assassin’s Creed
  • Avengers: Age of Ultron
  • Ready Player One
  • Citadel — Season 1
  • The Union
  • Fountain of Youth
  • Young Sherlock
Explore full credits on IMDb ↗

02 / SELECTED WORK

Full filmography on IMDb ↗

TELEVISION

YOUNG
SHERLOCK

FIGHT COORDINATION / ACTION DESIGN

Character at the
centre of the action.

SEASON 2 / IN PRODUCTION · 2026

I’m currently the Fight Coordinator on Young Sherlock Season 2, in production in 2026, continuing my work on the series following Season 1.

From director and executive producer Guy Ritchie, who directed the opening two episodes of Season 1.

One of Prime Video’s biggest original successes: Amazon reports 45 million viewers in its first 28 days and a place among its top 10 Prime Original seasons of all time.

Read Amazon’s announcement ↗

Fight choreography and previsualisation developed to support the characters, the scene and its visual storytelling.

Building the physical performance alongside the camera: finding the rhythm, the story beats and the details that make each exchange read on screen.

Adam Brashaw being interviewed on the set of Citadel Season 1, with a film camera, boom microphone and blue-screen stage.
Adam Brashaw being interviewed on the set of Citadel — Season 1.

SELECTED WORK / PRIME VIDEO

CITADEL

Fight Coordinator · Season 1

Fight coordination for the first season of Prime Video’s international spy thriller.

Adam Brashaw with Mark Wahlberg and his stunt double Chase Armitage on the set of The Union.
On set with Mark Wahlberg and his stunt double, Chase Armitage.

SELECTED WORK / NETFLIX FILM

THE UNION

Fight Coordinator

Working with actors and stunt performers to bring the action to the screen.

Adam Brashaw on the set of The Union, with Mark Wahlberg and his stunt double, Chase Armitage.

THE UNION / PREVIS TO SCREEN

Designed in rehearsal.
Brought to the screen.

Choreography, framing and timing — see the previs and the finished scene together.

TOP / PREVIS
BOTTOM / FINAL SCENE

Previs to final scene · Silent loop Open video ↗

BEHIND THE SCENES

Inside the action.
Behind the camera.

Stunt performance, choreography and camera work — a closer look at the experience that shapes my action design.

Adam Brashaw with Adam Basil on a film set.

On set

With Adam Basil.

Adam Brashaw operating camera near the pyramids on Fountain of Youth, directed by Guy Ritchie.

Fountain of Youth

Operating camera on location. Directed by Guy Ritchie.

Adam Brashaw holding the camera rig on the set of Fountain of Youth.

Fountain of Youth

A closer look at the camera work on set. Directed by Guy Ritchie.

Adam Brashaw operating camera in an alley on The Union.

The Union

Camera work in the alley.

Adam Brashaw demonstrating fight choreography to Halle Berry on The Union.

The Union

Demonstrating choreography to Halle Berry on set.

Adam Brashaw working with the camera inside a vehicle on Fountain of Youth.

Fountain of Youth

Camera work inside the vehicle.

Adam Brashaw filming from the top of a carriage on Young Sherlock.

Young Sherlock

Working with the camera on top of the carriage.

Adam Brashaw filming a Young Sherlock action rehearsal from above a vehicle.

Young Sherlock

Filming an action rehearsal from above the vehicle.

Adam Brashaw with Ryan Reynolds, working as his stunt double.

Stunt doubling

With Ryan Reynolds, working as his stunt double.

Adam Brashaw as Hawkeye, doubling Jeremy Renner in Avengers: Age of Ultron.

Avengers: Age of Ultron

In costume as Hawkeye, doubling Jeremy Renner.

Adam Brashaw in Hawkeye costume beside the Captain America stunt double on Avengers: Age of Ultron.

Avengers: Age of Ultron

As Hawkeye alongside the Captain America stunt double.

FROM PREVIS TO SCREEN

The idea.
The final frame.

A single action beat, developed in rehearsal and previs, then realised on screen.

Young Sherlock — Season 1

01 / THE KNIFE PASS
Previs close-up: a knife passes in front of a woman's face in a rehearsal space.
01 / PREVISChoreography & camera
Final screen close-up: the matching knife pass in an outdoor woodland setting.
02 / FINAL FRAMEThe action on screen

The blade across the foreground, the eyeline and the close framing carry the action beat from previs into the finished shot.

View the rehearsal → previs → screen progression
Three-stage comparison: wide rehearsal on blue mats, the previs close-up and the final woodland shot.
Rehearsal / Previs / Final frame

03 / THE CRAFT

Built for the story.
Designed for the screen.

Each project calls for its own cinematic language. Tone, performance, framing and shooting style inform the design from the outset.

01

Fight coordination

Shaping fights with actors and stunt performers, developing the choreography through rehearsal and preparing the sequence for camera.

  • Character-specific movement
  • Actor and stunt team rehearsals
  • On-set fight coordination
02

Action design

Identifying the project’s tone and translating it into physical storytelling and cinematic choices: how the action moves, how it is framed and how the camera experiences it.

  • Project tone and cinematic language
  • Shooting style, framing and camera movement
  • Sequence concepts and physical storytelling
03

Previsualisation

Filming and editing the action before the shoot, giving the creative team a clear view of the choreography, coverage and pace.

  • Action previs and rehearsal films
  • Camera blocking and shot development
  • Editorial rhythm and refinement

04 / THE PROCESS

From the page
to the performance.

  1. 01

    Find the intention

    Start with the script, the characters and the project’s unique tone. Establish the cinematic language and define what the action needs to express.

  2. 02

    Build the physical story

    Explore choreography, space and movement. Find the moments that carry the scene and give it its own identity.

  3. 03

    Put it on camera

    Rehearse, film and refine. Explore shooting style, framing, camera movement and editorial rhythm to find how the sequence best expresses the project’s tone.

  4. 04

    Bring it to set

    Carry the preparation into the shoot, adapting to the performers, location and coverage while keeping the story clear.

LET’S TALK ACTION

Let’s build your next
action sequence.

Tell me about your film or series. Let’s shape action that captures its character, tone and cinematic language — from the first idea to the final frame.

Prefer to email directly?
adambrashaw@gmail.com

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AB — Adam Brashaw, Fight Coordinator / Action Design