Video & photography
Video and photography shot for the channel it will actually run on — not a single flagship film that nobody has the budget to distribute.
A senior person reads this and replies within one working day. No call centre, no drip sequence.
Formuläret kunde inte laddas.
Det är vårt fel, inte ditt. Mejla oss i stället så når det exakt samma person.
Support@adnika.comPartners & recognition
The platforms we build and run campaigns in, and the clients whose numbers we publish with their names on. HubSpot is the one partnership we claim; the rest are tools we use, not badges.
The problem
A single expensive brand film, delivered in landscape, posted once, and never cut down for the feeds where the audience actually is. It is the most common way a production budget disappears.
One film you cannot distribute is worth less than ten cutdowns you can
Shot in landscape because that is how cameras are pointed, then awkwardly cropped for vertical feeds afterwards. Framing for the destination costs nothing on the day and cannot be fixed later.
A production company delivers a film and leaves. Nobody planned the cutdowns, the thumbnails, the captions or the paid variants, so the asset runs once and stops.
Feeds consume content faster than any single shoot can supply. A day that produces one film is a bad day; a day planned properly produces a film, twenty verticals and a stills library.
What we do
Video, motion and photography — each format has its own page.
The film that says who you are, planned with its cutdowns from the start.
Internal, investor and recruitment films where clarity beats cinema.
Where there is nothing to film — process, data, product mechanics.
Vertical, native and made for the feed rather than resized into it.
Training content built to be understood and finished, not admired.
Where the format supports buying without leaving the video.
Branching and choice-driven formats for products that need exploring.
Editing, grade, sound and motion — including on footage we did not shoot.
Where generative tooling genuinely reduces cost, and honesty about where it does not.
Team, workplace and executive portraits that do not look like stock.
E-commerce and catalogue shooting built around the grid it will sit in.
Brand imagery with people in it, which is what most libraries lack.
Consistency across a library shot on different days by different people.
Video and stills, delivered fast enough to still be relevant.
For spaces where the decision depends on understanding the room.
Every capability in one place — strategy, web, search, content, paid, CRM and creative.
Conferences, launches and awards, with an edited set delivered the same night.
Capabilities in detail
Video, motion and stills, with what each is actually for.
The anchor asset — planned with its cutdowns from the outset so it does not run once and stop.
Investor updates, recruitment and internal comms, where being understood matters more than being cinematic.
Demonstration and explanation for products a still image cannot sell.
Shot vertical rather than cropped to it, which is visibly different and the format carrying most organic reach.
For process, data and mechanics — anything that does not exist to be filmed.
The layer that makes footage feel finished, and often the cheapest quality upgrade available.
Structured for completion, chaptered and captioned, because training nobody finishes teaches nothing.
The most persuasive asset in B2B, and the one most companies never get around to shooting.
Same-day or next-day turnaround, because event content dates fast.
Branching or in-video purchase, where the product genuinely benefits from exploration.
Consistent portraits across a whole team, shot so new joiners can be matched later.
Built around the grid, the crop and the background the store actually uses.
People using the thing, which is what almost every brand library is short of.
Consistency across a library shot on different days by different hands.
For clinics, showrooms and property, where understanding the space is the decision.
Generative video and imagery where it genuinely reduces cost — and a straight answer about where the output is not usable.
Technology
Kit and software, by what it is for.
What it is shot on.
The half of quality nobody notices until it is missing.
Where the footage becomes the film.
Stills and finishing.
Where it earns its place.
How it reaches the channel.
How we work
The distribution plan comes before the shoot list, because it changes what gets shot and how it is framed.
Which channels, which formats, which aspect ratios and how many assets. That decides the shot list, the framing and the day rate — and it cannot be retrofitted after the crew has gone home.
Location, permits, casting, scheduling and the contingency that stops a shoot day collapsing. Dubai filming permissions in particular are a planning problem, not a paperwork afterthought.
A properly planned day produces the hero film and the twenty cutdowns and the stills library, because the setups were designed to serve all three.
Edit, grade, sound, motion, captions and every cutdown the plan called for — delivered in the specs each platform actually wants.
Why us
Not better cameras. Better planning — the difference is what you can still do with the footage three months later.
It changes framing, setups and shot count. Retrofitting vertical from landscape is the most common wasted budget in this category.
Setups designed to yield the hero film, the cutdowns and the stills together rather than sequentially.
We also build the site and run the campaign, so the video arrives somewhere designed for it.
Generative tooling genuinely cuts cost on some things and produces unusable output on others. We will tell you which is which.
Industries
Every number below is the count of case studies we have actually published in that sector, and the best result among them. Nothing is a counter.
Selected work
:quality(80))
Two disconnected websites rebuilt as one bilingual WordPress site with a HubSpot funnel behind it.
:quality(80))
Seventy-two treatment pages in Dubai’s most contested clinical category, built inside DHA advertising rules.
:quality(80))
One site carrying aesthetics, dentistry and surgery — three audiences, three routes, one design system.
:quality(80))
A Dubai property platform with filterable listing search, a map of the city and a mortgage tool.
:quality(80))
A scroll-scrubbed WebGL scene experience spanning six divisions — and still a PageSpeed of 90.
:quality(80))
Office furniture on Shopify, serving a single-chair buyer and a corporate fit-out from one catalogue.
:quality(80))
A smart-lock catalogue with parallel routes by product, by industry and straight to the flagship.
Client stories
On camera and in writing — swipe through the founders and teams we’ve helped design, build and grow.
In their words
GMC is thrilled to extend our heartfelt appreciation to Adnika! Collaborating with Ehsan and his team has consistently been an absolute delight. Ehsan's dedication and commitment have ensured that German Medical Center remains an exceedingly satisfied and happy client, especially regarding their Hubspot Onboarding, Digital Marketing, Website Development, Content Creation and Social Media Marketing. Adnika is indeed the Best Digital and Growth Marketing Agency in UAE!
Adnika provided us with their Inbound Sales and Marketing solutions through Hubspot. They helped us generate more qualified leads for our sales team, drive website traffic, increase customer engagement, and grow our customer base. Adnika is a reliable partner that has always taken our specific goals and needs seriously.
Adnika has helped us plan, implement and optimize ad campaigns on Facebook and Instagram. Adnika is truly committed to Performance Marketing. They provided us with a fantastic dashboard with detailed KPIs that helped us track the campaigns’ performance in real time. Adnika also gave us helpful and dedicated support during the whole project, and the campaigns turned out to be a great success. We highly recommend working with Adnika's growth experts.
We really enjoyed working with Adnika’s team. Not only are they talented, but they all take the time to understand whom they're working with, what they're trying to accomplish, and how to help the business achieve its goals. The quality of work we've experienced has made a huge difference for us and helped drive new business.
Adnika helped Sea Technology with setting up new digital channels, such as Google Search Ads, to attract more customers and leverage our brand. We are very satisfied with the results and we will continue with the implementation of lead generation, marketing automation, and performance marketing.
Working with the Adnika team has been a real pleasure! Extremely friendly, Ehsan and Elin are always available with prompt replies, valuable insights, patience, a problem-solving attitude, and high knowledge. Super easy to work with them. I highly recommend the Adnika team to help your business!
I am an artist, but I also manage a collective of DJs. In order to promote our services to our clients, we needed Inbound solutions that could attract the right traffic and promote the brand. Adnika built and designed our Inbound processes as well as create and manage campaigns on social media and Google Ads which helped us attract many more customers. I’m very happy!
We've been using Adnika growth marketing solutions only for a few months. They are highly professional, competent, experienced, and creative. Get ready to get to work with this agency. They will come alongside you as a business owner and feel your pain and joy! Get ready to transform your business.
Questions
What clients ask before commissioning a shoot.
A single-day corporate or social shoot commonly runs from around AED 15,000 to AED 35,000 depending on crew, kit and locations. A full brand film with talent, multiple locations and heavy post is materially more. The biggest cost drivers are shoot days, crew size and talent — not camera choice, which is where clients usually expect the money to go.
Plan the distribution before the shot list. A day designed to produce a hero film, twenty vertical cutdowns and a stills library costs marginally more than a day producing one film, and yields months of content instead of one post.
Yes. Filming here requires permits that vary by emirate, location and whether you are in a free zone, and the lead times are real. We plan for them rather than discovering them the week before, which is a common way a shoot date moves.
Two to four weeks from brief to delivery for a straightforward corporate or social shoot; six to twelve for a brand film with scripting, casting and heavy post. The variable that moves it most is approvals, not production.
Yes — post-production, re-edits and cutdowns from an existing library are a large part of what we do. Most companies are sitting on footage that was delivered as one master and never cut for anything else.
Both, framed on the day. Cropping landscape to vertical afterwards is visibly compromised — you lose the composition and usually the subject's head. Framing for both during the shoot costs nothing extra if it is planned.
For some things now — b-roll, backgrounds, concept work, some product motion. Not for anything with a recognisable person, precise brand detail or on-screen text, where it still produces output that will embarrass you. We use it where it saves money and say so where it does not.
Yes, and we have run engagements across the GCC and in Europe. Costs shift with crew travel and local permits, so it is worth planning a regional shoot as one production rather than several.
No questions match — try another search.
Next step
A straight read of the assets you have, the formats you are missing and what one properly planned shoot day could produce.
+288% organic traffic