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.
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.
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Common 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.
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