Media production that fills the calendar, not just the showreel
RX plans, shoots and edits for companies across Egypt and MENA — and builds every production day to deliver months of usable content in Arabic and English, not one video and an empty content calendar.
You paid for media production.
You got one video.
The footage looked good. It ran for a fortnight, the engagement was fine, and then the content calendar was empty again and someone asked about the next budget. That is not a creative failure. It is a planning failure, and it is the most common thing we are called in to fix.
One Shoot, One Asset
A full crew, a location and a day of everyone's time produced a single ninety-second film. The same day could have produced twelve pieces if anyone had planned the cut-downs before the camera was set up.
Wrong Shape for the Platform
Everything was framed wide for the website. Now the social team is cropping heads off in vertical, and the paid team has nothing at all that works in a feed.
Arabic Came Later, or Never
Subtitles and voiceover were treated as a media production extra, quoted separately, and quietly dropped. Half the addressable audience got the English cut or nothing.
One production plan.
Every format the business needs.
Numbers that
speak for themselves
What clients see after an RX media production project.
Zahra Foods
A packaged-food brand that had been buying one hero film a year and running out of content by week three. We planned the cut-downs into the shot list and came off a two-day shoot with a hero film, eighteen verticals, forty product stills and an animated explainer.
How to buy media production without wasting the budget
Count the deliverables, not the shoot days
The only honest way to compare two quotes is cost per usable asset. A cheaper day that yields one film is worse value than a fuller day that yields a hero cut, six verticals, twenty stills and a motion sequence. Any media production company worth hiring will plan those cut-downs into the shot list from the start — it costs almost nothing extra on the day and it is close to impossible to add afterwards. This is the single biggest lever on what you actually pay per piece of content.
Shoot for the platform your market is actually on
Egypt is not an Instagram-first market. Facebook reaches 63.3 million people here and Messenger 57.2 million, against 23.9 million on Instagram, while TikTok's reach now equals 49.7% of the country's internet users after growing more than 25% in a year. Those platforms want different aspect ratios, different lengths and different opening seconds. Deciding the platform mix before the shoot changes the framing, the pacing and the script — which makes it a media production decision rather than a distribution one.
Treat Arabic as a version, not a project
Producing the Arabic and English cuts in the same post-production pass costs a fraction of commissioning the second language later, because the edit, the grade and the sound design are already built. Around 60% of Arabic speakers prefer to consume content in Arabic, so a single-language deliverable in this region is a deliberate decision to reach less of your market. We quote both versions as standard rather than as an upsell, and we build them into the media production schedule from the first conversation.
What a media production company should plan, not just shoot
The expensive part of production is not the camera; it is the day. Once a crew, a location and a set are assembled, the marginal cost of capturing a second, third and fourth asset is small. A media production company that plans properly walks in with a shot list covering the hero film, the cutdowns, the vertical versions, the stills and the behind-the-scenes — and walks out with a quarter of content. A media production agency that plans one deliverable bills you again in six weeks for the things it could have captured on the same afternoon.
Studio work, location work, and when each is right
Media production studios give you control: lighting you can repeat next season, clean backgrounds, no weather and no permits. That makes them right for product, catalogue and anything that has to match shots taken months apart. Location production gives you context and credibility — the real premises, real staff, real customers — which is what testimonial and recruitment films need. Most briefs want both, and the sequencing matters: shoot the controllable studio material first so the location day is spent only on what cannot be faked.
Digital media production and the formats nobody budgets for
A finished film is the start of the work, not the end. Digital media production means the edit is planned as a family: the long version for the website, cutdowns for paid, vertical and square crops for feeds, a captioned version for silent autoplay, and thumbnails that survive being shown at postage-stamp size. YouTube's own guidance on chapters and metadata is worth following for anything hosted there. Budget for the versions at the brief stage; retrofitting them from a finished master always costs more and usually looks it.
Creative media production as a rhythm, not a project
Brands that produce well do it on a cycle: a production day each quarter feeding a content calendar, rather than an annual epic that has to carry twelve months. That rhythm is what makes creative media production affordable — the crew, the kit and the set-up cost are amortised across dozens of assets. It also keeps the library current, which matters because a feed running last spring's photographs looks it. Our video, photography and motion graphics teams plan from one calendar for that reason.
What to prepare before a production day
The cheapest hour in media production is the one spent planning and the most expensive is the one spent waiting on set. Before the day: confirm the shot list and the priority order, so if you lose two hours you lose the least important material rather than the hero. Confirm products, samples, wardrobe and props are physically on site, not in transit.
Confirm permissions for the location and consent for anyone appearing on camera. Nominate one person who can approve a frame on the day. And agree the delivery formats in writing beforehand, because a shoot planned for one aspect ratio cannot be reframed afterwards without cropping away the composition you paid for.
See how much content your last shoot should have produced
Send us what you filmed and what you got back. We will tell you what else was in that footage, and what a media production day should be yielding at your budget.
Services that work
alongside media production
What our clients
say about us
Media production questions answered
Media production covers everything from the first concept conversation to the final delivered files: planning, scripting, storyboarding, casting and locations, the shoot itself, then editing, color, sound and versioning.
It depends on crew size, locations, talent and how many deliverables you need. Social and corporate work internationally runs from about $1,000 to $20,000; commercials go far higher. We quote a fixed price against an agreed deliverables list rather than an open day rate.
A straightforward corporate or social media production project is usually three to five weeks: about two on concept and pre-production, one or two shoot days, and one to two weeks in post. Larger campaigns run longer, mostly because of approvals rather than the filming.
Yes, as standard. Both language versions are built in the same post-production pass, which is why they cost far less than commissioning the second one separately.
You own the final deliverables and the raw footage. We hand over the project files at the end so nothing is held hostage if you work with someone else next time.
Often not. If the message is explanatory rather than emotional, motion graphics deliver it faster, cheaper and with unlimited revisions. We will say so during the audit rather than sell you a media production day you do not need.
The main drivers are shoot days, crew size, location versus studio, and how many finished versions you need. A single studio day producing a library of product stills and short clips is very different from a multi-location film with talent. We quote per production plan, not per asset.
We work from studio spaces in Cairo for controlled shoots and on location wherever the story needs it. Which one we recommend follows the brief — product and catalogue work benefits from repeatable studio lighting, while testimonial and premises films need the real place.
Yes, and we plan them together. Vertical, square and captioned versions are specified before the shoot so the framing leaves room for every crop. That is far cheaper than commissioning a hero film and then discovering it cannot be cut for a feed.
You do. Finished assets and the raw material are handed over on delivery, along with the project files. Talent and music licensing terms are set out separately in the quote, since those carry their own usage windows.
Two to three weeks is comfortable for a straightforward shoot, longer where casting, permits or specific locations are involved. The lead time is mostly pre-production rather than availability, and compressing it is what turns a planned day into an expensive one.
Yes. Tell us the number and we will tell you honestly what it buys and what it does not. It is a better conversation than a wish list quoted at three times the budget, and it usually results in a tighter, more focused production.
We arrange all three where the brief needs them, quoted as separate lines so you can see the cost of each and decide. Talent usage rights are specified up front, since a licence limited to one year is a very different price from one that is not.
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