Video production that earns the second minute
RX writes, shoots and cuts video production for companies in Egypt and MENA — scripted against where audiences actually stop watching, delivered in Arabic and English from one shoot.
Nobody watched past forty seconds.
The camera was never the problem.
The footage was sharp, the grade was clean, the drone shot was genuinely impressive. And the completion rate fell off a cliff before the message arrived. Most disappointing video fails at the script stage and gets diagnosed as a production quality issue.
The Video Is About You, Not Them
It opens with company history and reaches the customer problem at minute two. The audience left at second thirty and never saw the argument.
One Long Film, No Cut-Downs
You commissioned a four-minute corporate piece and got exactly that. A full shoot day, and the social team still has nothing usable for fifteen assets.
Sound-Off Was Never Considered
Most of the audience watches muted on a phone. The whole message lives in the voiceover, so on a feed it plays as silent footage of an office.
The script, the shoot,
and every cut it has to become
Numbers that
speak for themselves
What clients see after an RX video production project.
Delta Agri Group
A four-minute corporate film that opened on company history and lost most of its audience before the capability section. We rewrote the script to open on the customer problem and planned fifteen cut-downs into the shot list.
What separates video production that works from video production that looks good
Write to the drop-off, not to the runtime
Seventy-one percent of people consider videos between thirty seconds and two minutes the most effective length, and short-form is the highest-return format most marketers name. The practical consequence is that a script has to place its most interesting claim within the first ten seconds and re-earn attention roughly every fifteen after that. We storyboard against that rhythm and cut anything that only exists because it was expensive to film. This is also why we resist opening on a logo animation: it spends the most valuable seconds you have on something the viewer already knows.
Assume the sound is off
The majority of social viewing in Egypt happens on a phone, frequently muted, often in a public place. Video for those placements has to carry the message visually and in burnt-in subtitles, with the audio as an enhancement rather than the delivery mechanism. Arabic subtitling is a design decision as much as a translation one — right-to-left text, timing that suits longer Arabic phrasing, and safe areas that do not collide with platform interface elements. Getting this wrong is the most common reason a well-made film underperforms on a feed.
Plan the cut-downs into the shot list
A shoot day is a fixed cost, and what varies is how many finished assets it produces. If the vertical crop, the fifteen-second ad and the six-second bumper are decided beforehand, they get framed for during capture and cost almost nothing extra. Decided afterwards, they mean cropping into compositions that were never built for them, or a second shoot. Every brief we write specifies the full delivery list before the call sheet exists, because that list is what decides the real cost of the day.
Price the deliverables, not the crew
Two quotes are only comparable when both name what you receive. Clutch data puts most US video production agencies between $100 and $149 an hour, with larger agencies charging $200,000 or more per project — a spread wide enough to be meaningless without knowing the deliverables. Hourly and day rates tell you what a crew costs, not what you receive. We quote fixed per project against a named delivery list. And when a story has nothing to film — a process, a system, a comparison — we will recommend animation instead, even though the shoot day is the larger invoice.
What a video production agency should agree before the shoot
Three things decide whether a film works, and all three are settled before anyone books a camera. What is the single idea, stated in one sentence. Where will it be watched, because a film for a website behaves nothing like one for a paid feed.
And what is the list of finished versions — long cut, cutdowns, vertical, captioned, thumbnails. A video production service that starts with kit and locations instead of those three is planning a shoot, not a result. It is also the reason briefs overrun: every version discovered after the edit costs more than it would have cost to plan.
Corporate video production that people actually finish watching
Most corporate video production fails in the first fifteen seconds, and it fails the same way: a logo animation, a drone shot, and a chief executive explaining the company's values. Viewers leave before the point arrives. Open on the customer's problem or on something concrete happening, put the claim in the first line, and keep the film as short as the idea allows. Google's video documentation is also worth following if the film sits on your own site, since proper markup, a thumbnail and a transcript decide whether it can appear in search at all.
Commercials, and what a commercial video production company adds
Video commercial production is a different discipline from documentary or corporate work. It is written to a fixed duration, built around a single claim, cast and storyboarded before the shoot, and delivered in a set of durations from a full version down to six seconds. A commercial video production company earns its fee in that pre-production: the storyboard, the casting, the location recce and the schedule. Among top video production companies the shoot itself is rarely where films are won or lost — it is where a good plan gets executed or a weak one gets exposed.
Marketing video production as a library, not a launch
The most common mistake in marketing video production is spending an annual budget on one film. A single asset cannot serve awareness, consideration and conversion, and it fatigues in paid within weeks. Video production in Egypt is competitively priced enough that a quarterly production day feeding a library of shorter pieces usually beats one epic on every measure. Those pieces then combine with motion graphics and stills so the content calendar keeps moving between shoots rather than going quiet.
What a video production quote should itemise
Compare quotes line by line or you will compare nothing. A proper video production quote separates pre-production, shoot days, crew roles, equipment, location and permits, talent and their usage rights, post-production, music licensing, and each deliverable version.
Two quotes with the same total can hide completely different work: one includes six cutdowns and a captioned vertical version, the other includes a single master and bills the rest later. Usage rights are the line most often missed, because talent and music licensed for a year mean the film has an expiry date nobody diarised. Ask any video production supplier to itemise, and be suspicious of a single number with no breakdown behind it.
Send us your script or your brief before you book a crew
We will tell you where the audience is likely to leave, and what the shoot should deliver beyond the main film. It is the one stage of a production where changing your mind is free.
Services that work
alongside video production
What our clients
say about us
Video production questions answered
A video production company handles concept and script development, then the shoot itself — location, crew, equipment, cast and direction — and then post-production: editing, color grading, sound, subtitles and versioning. A full-service partner covers all three phases rather than handing you footage and leaving the edit to someone else.
It depends on crew size, shoot days, cast and post scope. For reference, Clutch data puts most US agencies at $100-$149 per hour with large projects running well into six figures. We quote fixed per project against a named delivery list, so you can compare our number with anyone else's on the basis of what you actually receive.
A straightforward corporate or product film typically runs four to six weeks: script and pre-production, one or two shoot days, then post. Commercials with casting, location permits or heavy post take longer. The script phase is the part worth not rushing, and the part clients most often try to compress.
Yes, planned from the script rather than added afterwards. That means considering Arabic phrasing length at the storyboard stage, subtitle timing and right-to-left safe areas in the frame. Both versions come out of a single shoot in almost every case.
That is the default. Vertical, square and short-form cuts are specified in the brief before the shot list is written, so they are framed for at capture. Retro-fitting them afterwards means cropping into shots that were never composed for it, which is why so many corporate films produce exactly one usable asset.
You do — the finished films, the raw footage and the project files, with usage rights that do not expire. If you later work with another agency, they can pick up from our material without renegotiating anything with us.
The drivers are shoot days, crew size, whether talent and locations are needed, and how many finished cuts you want. A single-location interview film is modest; a scripted commercial with casting and multiple locations is a different order. We quote against the treatment, not by the minute.
Typically four to eight weeks. Pre-production and scripting take the largest share, the shoot is usually one to three days, and editing, grading, sound and the additional cuts follow. Rushing pre-production is the most reliable way to make the edit expensive.
Both, and we scope them differently. Corporate work is built around access and authenticity; a commercial is built around a single claim, a fixed duration and casting. Telling us which outcome you want at the brief stage changes the crew and the schedule we propose.
Yes. Masters, the additional cuts and the raw material are handed over on delivery, along with the project files. Music and talent licences are listed separately in the quote because they carry their own usage terms and time limits.
Yes. Scripting, treatment and direction are part of pre-production, which is where a film is actually made. Bringing a rough brief is fine and often better than a finished script written without knowing what is realistic to shoot in the time available.
Yes, across Egypt and the wider region. Multi-location work needs more planning around permits, kit movement and crew, so it is scheduled in one block wherever possible rather than as separate shoots, which keeps the cost and the look consistent.
The schedule is agreed in advance with a priority order, so if a day slows down we protect the material that matters most. Overtime rates and the cost of an additional day are stated in the quote up front rather than appearing afterwards as a surprise.
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