Video & photography
Most post-production projects do not fail on craft. They fail because feedback arrives in fragments from four people over three weeks, each round undoes the last, and nobody ever declared the edit finished. The process is the deliverable as much as the film is.
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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
The scope said two revision rounds. You are on the eleventh set of notes, three of which contradict each other, and the last one asks to restore something removed in round four.
Why edits drift
Four stakeholders sending notes independently, some contradicting others, none aware of what the rest asked for. The editor implements all of it and the film gets worse with each round.
It feels slow in the middle is not actionable. Timecoded notes on a review platform take the same time to write and can actually be acted on, which usually halves the number of rounds.
Cut to a track from a film, and now it cannot be published. Licensing the music before the edit locks avoids a re-cut, and it is a surprisingly common late discovery.
One landscape file, no vertical, no captions, no short cuts. Every additional version commissioned separately later at several times what it would have cost inside the original delivery.
What is included
The full chain, on footage we shot or footage you bring.
Story, pacing and structure. The part that decides whether a film works. Everything after this is finishing, and no amount of grading rescues an edit that does not hold.
Matching shots across a shoot, then giving the film a coherent look. On footage from several cameras or several days, matching is most of the work and it is what makes amateur footage look considered.
Roughly half of perceived production quality and the first thing to get cut from a budget. Dialogue cleaned, levels controlled, atmosphere built, music mixed properly rather than laid under at a fixed volume.
Lower thirds, titles, subtitles and any explanatory graphics, built to your brand so every film looks related.
Burned-in and as sidecar files. Given that most feed video is watched silently, captions are a functional requirement rather than an accessibility extra, though they are that too.
Stabilising, denoising, upscaling and repairing footage that was not shot well. Often the difference between an unusable archive and a usable one.
Vertical, square, silent-legible, six-second, fifteen-second and full length, produced from one edit at the same time rather than commissioned separately.
Correct encodes for each destination, plus an organised archive with the project files, so a change in a year does not mean starting again.
Technology
Standard professional post tooling, and a review process built so feedback is actionable.
The chain.
Where rounds get saved.
For footage that was not shot well.
Everywhere it will run.
How we work
Structure first, feedback consolidated, versions delivered together.
A rough cut that establishes the story and the length. Reviewed and agreed before anybody grades a frame, because polish applied to a structure that will change is wasted work.
All notes gathered into one timecoded list with contradictions resolved before they reach the editor. This is the single change that most reduces the number of rounds.
Once the edit is locked. Colour matched and graded, sound designed and mixed, graphics and captions built. Doing this before lock means doing it twice.
Every format from the agreed list, correctly encoded, plus an organised archive with project files so a change next year is a small job.
Why us
Because the process is designed to converge rather than to drift.
Two rounds at named stages, in the scope. Unlimited revisions is either priced in already or the source of a difficult conversation in week six.
One list, one approver, contradictions resolved first. Four people sending notes separately is the most reliable way to make a film worse with each round.
Vertical, captioned, short cuts, all delivered together. Commissioning them afterwards costs several times what including them does.
Shot by you, by another crew, or years ago. Including rescuing material that was not shot well, which is a large part of what this work actually is.
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.
Where this sits
Post-production finishes work from every discipline in the hub.
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
Mostly about time, which is what the question boxes ask.
AED 3,500 to AED 40,000 covers most of what we are asked to build. The number moves on runtime and complexity, how much footage there is to review, whether grading, sound design and motion graphics are included, how many versions and languages. Anything quoted before those are known is a guess. We scope first, then price, and the scope document is yours whether or not you proceed. These are market ranges rather than a fixed rate card — the proposal carries the real figure.
For a two-minute film from a single shoot day, roughly one to two weeks including revisions. A longer film, or one cut from many hours of footage, runs three to four weeks. The variable that matters most is not runtime, it is how much footage has to be watched and logged before editing can start.
It depends entirely on what you want out of it. A clean-up and top-and-tail of a recorded session is a day. Cutting a one-hour recording into a five-minute highlights piece is a week or more, because somebody has to watch and log the whole hour before any decisions can be made. The hour of footage is the cost, not the finished length.
Around one to two weeks in practice, and only a few days of that is editing. The rest is review cycles. Projects that take longer almost always took longer at the feedback stage rather than at the bench.
Two, at defined stages, written into the scope. It is worth being specific rather than promising unlimited, because unlimited revisions are either already in the price or a source of friction later.
Timecoded, on a review platform, consolidated into one list with contradictions resolved before it reaches us. It takes the same time to write as an email of impressions and it typically halves the number of rounds.
Yes, and a lot of our post work is exactly that. Send a sample before committing and we will tell you honestly what is achievable — some problems can be graded and stabilised away, and some cannot.
Partly. Stabilisation, denoising, upscaling and colour correction can rescue a great deal. What cannot be fixed is missing coverage, unusable audio with no backup, and critically soft focus. We will look at it and tell you which category you are in rather than promising and disappointing.
Yes, and it needs deciding before the edit locks. Cutting to an unlicensed track and discovering the licence is unaffordable means a re-cut, which is entirely avoidable and happens regularly.
Worth being straight: it is not an established editing principle. Search suggestions surface it because content sites have written about it, and those articles define it several incompatible ways. The real idea underneath is that a small part of your footage carries most of the value, which argues for cutting hard rather than for any rule with numbers in it.
Yes, and if you have a motion identity we will work to it. If you do not, we can build one as part of the first project so subsequent films look related rather than each one being designed from scratch.
No questions match — try another search.
Next step
Send a sample of the footage. We will tell you honestly what can be made from it and how long it would take.
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