Post-production, with a revision process that ends

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.