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The kerambit is not a showpiece. It’s a weapon born of purpose — forged in the shape of a claw, made to tear, not just to slice. When I train with it, I don’t move for the sake of motion. I move because every gesture has a reason.
Normal reverse grip
Watching back the recent footage, I saw what I needed to see. The form was clean. Wrist control was solid. No flair, no flourish — just honest mechanics. Forward grip. Reverse grip. The transitions flowed. The blade knew where it was supposed to be.
Click on this screenshot image to watch this Kerambit video.
I only recently adopted the full forward grip in my kerambit training. Before this, I trained mostly in reverse grip, and sometimes transitioned into a half-forward grip — where the ring slides onto the middle finger instead of the little finger. That variation gave me reach and control. But full forward grip shifts a lot of things. The angle. The feel. The speed. It’s like being one with the blade — not just holding it, but wearing it. Movement becomes more instinctive, more alive. Still unfamiliar. Still raw. But worth exploring.
Full forward grip
Sometimes, my wrist tensed a little. Not much — just enough to notice. That kind of stiffness slows down a live blade. In real use, that half-second matters. Something to refine. Maybe I was still thinking with my brain instead of letting the muscles lead — a side effect of adapting to the new grip.
Footwork held its ground. The steps weren’t loud. They didn’t have to be. Silat teaches you to move with the shape of the fight — triangular steps, shifting weight, reading space. It felt natural. But I think I should demonstrate more in the lower stances — where Silat and weapons truly dominate. Dropping down at the right moment adds layers: deception, evasion, even timing traps. 
Combo Kerambit grips
The bladework itself? It felt alive. Hook, slash, recoil. Flip, cut, redirect. The kind of movement built over hours of repetition. The kind that starts in the hand, but ends in the whole body. In one sequence, I managed a double-action — cutting forward, then back on the return. That’s the kind of moment that reminds me I’m on the right path.
But I keep a mantra close: don’t flip the kerambit unnecessarily — as drummed into my head by the late Silat master, Guru Jak. May Allah have mercy on his soul. Say Aamiin, and send more prayers his way. His dedication and contributions to Malaysian Silat were tremendous. Every flip must serve a purpose — to cut, to trap, or to hurt. Otherwise, it’s just noise. And motion without meaning is wasted in combat. I’ve got no interest in wasted motion. When you train alone, rhythm becomes your sparring partner. Mine felt right. Not constant — but steady. Shifting from flurries to stillness. That contrast builds tension. Stillness before the storm makes the storm hit harder. 
Combo Kerambit grips
Style-wise, I see my roots showing. Harimau Berantai, the style I studied for many years, gives my movement its grounded, instinctive flow. The newer Silat Sekilat system adds layers of tactics — stripping away rigid forms while giving me more freedom to express, to explore, and to stay effective and in full control of the weapon.
Some comments suggested a ghost of Filipino influence in the rotations. But I beg to differ — I’ve never trained in Filipino arts. The only non-Malay art I studied briefly was Krabi Krabong and Muay Boran. And a Thai guru once told me: their mother art is Silat. Controversial? Maybe. But for me, the heart is Silat. Not performance. Not theatre. Just movement built for impact. What I appreciated most, reviewing the footage, is that I didn’t waste motion. The blade stayed close to my centerline. Extended only when it needed to. Every movement had a place, a reason. And that’s what separates play from practice. 
Combo Kerambit grips
Still, if I want to make this educational — for students, for the curious — I need to show more. A dummy arm. A capable training partner. Something to map the intention behind the movement. Where does the blade land? What does it do? Why does it move that way?
This video was a checkpoint. A reminder that I’m not here to impress. I’m here to express. To sharpen what I know — and share it in a way that’s honest. The kerambit teaches that economy of motion is power. And power, used right, is quiet. 
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A Creative Evolution
I’ve been living and breathing motion design and video editing since the mid-2000s. For most of that time, Adobe was at the heart of my creative world. Premiere Pro, After Effects, Photoshop, and Illustrator were my go-to tools for countless personal and professional projects.
However, after years of reliance, I started questioning: Is it time to switch from Adobe to something better? The First Breakup: Premiere Pro to DaVinci Resolve
In 2021, I made the first major move in my creative journey — I dropped Adobe Premiere Pro.
Why? I discovered a better alternative: DaVinci Resolve. That year, I bought the Blackmagic Design Speed Editor, which came bundled with a free license of DaVinci Resolve Studio. While I had already explored the free version, the full version was a game-changer. It quickly became my go-to video editing software because of its clean, powerful, and stable features — and, importantly, no monthly fees. Simultaneously, I began upskilling myself to become a colorist using DaVinci Resolve. The software simply made sense to me. Even with Adobe’s flashy updates, I never once felt tempted to return. If I considered another option, it would be Final Cut Pro, a one-time payment model I’ve appreciated from my past experience. You can check out one of my recent works, fully edited using DaVinci Resolve Studio, here: Kerambit Digital Video Product on Gumroad. 
Breaking Free from After Effects with Fusion
While DaVinci Resolve also includes Fusion, Blackmagic’s answer to After Effects, I didn’t immediately jump ship. After Effects had become deeply integrated into my workflow.
I started exploring Fusion with each new project, gradually pushing myself to rely on it more. But after unsubscribing from Adobe Creative Cloud, I found myself resubscribing to After Effects to meet a client deadline. I successfully delivered the project, but it was clear: I was still dependent on Adobe for motion design work. That said, with every new project, I’m using Fusion more seriously. The gap is closing — I’m not 100% free yet, but I’m almost there. Moving Away from Adobe: The Final Straw with Photoshop and Illustrator
I’ve had my eye on Affinity Designer 2 and Affinity Photo 2 for a while. So recently, I revisited the Affinity website and found something that caught my attention:
• A six-month free trial • 50% off the full bundle — only MYR399 for a one-time payment That was my Adobe deal-breaker. I made the jump. First Impressions: Affinity Designer 2 and Affinity Photo 2
After diving into Affinity Designer 2 and Affinity Photo 2, I’m genuinely impressed. The best part? I can seamlessly open old Illustrator and Photoshop files without major issues. That alone made the transition much smoother.
During a recent project, I needed something akin to Lightroom to make my photos pop. While I haven’t found the perfect replacement yet, I discovered that Affinity Designer allows me to apply LUTs directly to image layers — a workaround that worked quite beautifully. I wish they allow quick previews I select my preferred LUT. That option should be available one day, sooner or later, Projects Created During the Transition
Here are some projects I’ve worked on during my switch to Affinity:
The Partial Goodbye: Adobe, Thanks for the Memories
After overcoming the last hurdle, I can confidently say: my transition from Adobe Creative Cloud to Affinity is nearly complete.
The best part? I’ve cut down on monthly costs while switching to tools that work — and work well. So, here’s to a new chapter. Welcome, Affinity. Au Revoir, Adobe — and thanks for all the beautiful (but sometimes painful) years. Download Affinity & Davinci Resolve
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