Video & photography
Animation earns its cost in exactly one situation: when what you need to show cannot be pointed at. Software before it ships, a process happening inside a sealed machine, a building not yet built, a number that means nothing until you see it move. Everywhere else, filming it is usually cheaper and more convincing.
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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
Most disappointing animation projects were not animated badly. They were scripted badly, approved late, and then rendered at expense in a form nobody could change.
Where animation budgets go wrong
A script change during writing costs an hour. The same change after the storyboard costs a day. After animation has begun it can cost a week and a difficult conversation. The entire discipline of animation production is front-loading decisions, and it is where most overruns come from.
A director talking to camera for ninety seconds is frequently more persuasive than an animated explainer of the same length, and costs a fraction. Animation is the right answer for the invisible and the abstract, not a default upgrade.
A style picked because it looked good on somebody else's work, without asking whether it suits your subject or your brand. Detailed 3D on a simple process is expensive and slower to change than clean 2D that communicates better.
The studio keeps the project files, so the version with next year's pricing means commissioning them again. Over three years this quietly costs more than the original production.
What is included
Different techniques suit different problems, and the choice affects cost more than almost anything else in the brief.
The workhorse. Best for process, data, comparison and anything conceptual. Fastest to produce, easiest to change later, and usually the clearest for an audience that just wants to understand something.
Useful when the story needs someone to relate to, in training, healthcare and consumer explanation. Meaningfully more expensive because every character needs rigging and performance, and worth it when the emotional register matters.
For products where the geometry is the point: machinery, devices, components. Also for products that do not physically exist yet, which is where it saves the most money against filming.
Walkthroughs and flythroughs for developments before completion. Frequently the only way to sell something that is currently a foundation, and a substantial category in this market.
Numbers made comprehensible. Annual reports, research findings and performance data, where a static chart loses people and a moving one does not.
Cheap, fast and now heavily associated with a particular era of explainer video. We will say so before you commit to it rather than after.
The animated logo, lower thirds, transitions and end cards that make every other video look like it came from the same company. A small piece of work with a long payback.
Filmed footage with animated overlays. Frequently the best value in the whole category, because it puts real people on screen and uses animation only where it is genuinely needed.
Arabic and English versions built into the structure from the start rather than retrofitted. Right-to-left text changes layout and timing, and discovering that after animation is finished is expensive.
Vertical cuts, silent-legible versions with burned-in captions, six-second and fifteen-second edits. Planned at storyboard rather than requested afterwards, which is when it costs almost nothing.
Technology
Standard professional tooling, and you get the project files at the end.
Where most of the work happens.
For geometry and product.
Half the perceived quality.
For every place it will run.
How we work
Front-loaded on purpose. Decisions get cheaper the earlier they happen and this is the whole reason animation projects overrun.
The script determines length, complexity and therefore price. We write it, you sign it off, and we are deliberately slow here because everything downstream depends on it. A sixty-second script that tries to say four things becomes a ninety-second one that says none of them.
Frames, style frames and a timed animatic. This is the final point where a change costs hours rather than days, so we make sure the whole approving group sees it, not just the project contact.
Design, animation, sound design and voice-over. Two revision rounds included and written into the scope, so nobody is negotiating in the last week about whether a change is chargeable.
Vertical, square, captioned, short cuts, and the project files. Planned at storyboard so they cost almost nothing, rather than requested afterwards when they cost a lot.
Why us
Almost entirely by being strict about the first two stages.
The animatic is the last point where change is cheap. Skipping it to start faster is the most reliable way to finish late and over budget.
So next year's price change does not mean commissioning the whole thing again. Studios that keep the files are protecting a revenue stream, not your project.
When a person on camera would be more convincing and cheaper, we say so. Animation is the right answer for the invisible, not a default.
Right-to-left changes layout and timing. Planning both languages at storyboard costs nothing; retrofitting Arabic into a finished English animation costs a rebuild.
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
Animation is one production discipline. These are the rest.
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
Starting with cost, since that is what the question boxes are almost entirely made of.
AED 12,000 to AED 90,000 covers most of what we are asked to build. The number moves on length, technique, whether characters need rigging, how many languages, and whether the script and voice-over are included. 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.
Ranges enormously with technique, and that is the whole answer. Clean 2D motion graphics with a voice-over sits at the lower end of our range. Character animation roughly doubles it because every character needs rigging and performance. Detailed 3D product work is higher again. The single largest cost driver is not length, it is how many unique scenes the script demands.
Less per second than a sixty-second one, because the fixed costs of scripting, style development and sound are spread further. Whether it should be three minutes is the better question: completion rates fall sharply past about ninety seconds for most business audiences, so a longer video often costs more and gets watched less.
Usually because they are not the same brief. Check whether script, voice-over, sound design, revision rounds, additional formats and the source files are included. A quote at half the price with none of those is not cheaper, it is smaller, and the difference appears later as change requests.
You can make something with a template tool, and for internal use or a quick social post that is often a sensible decision. For anything customer-facing the limitation is not the animation, it is the script. Template tools do not fix a script that tries to say four things, which is what makes most explainer videos fail.
Film it if you can point a camera at it and if a real person would be more convincing. Animate it if it is invisible, abstract, unbuilt, or dangerous to film. Mixed is frequently the best value: a real person on camera, with animation only where it is actually needed.
Pick the one that suits the subject rather than the one that looked best on a showreel. Process and comparison want clean 2D. Products want 3D. Anything emotional wants characters or real people. We will show style frames before committing, which is the cheap point to change your mind.
Yes, and we would rather. The script decides the length, the complexity and therefore the price, and it is the single highest-leverage part of the project. Where you have a script already we will review it honestly before quoting against it.
Four to eight weeks for most projects. Roughly a third of that is script and storyboard, which feels slow and is what protects the schedule. Projects that skip ahead to animation reliably arrive later than ones that did not.
Two, written into the scope, at defined stages. Unlimited revisions in a proposal are either priced in already or a source of friction later. Being specific up front is better for both sides.
You do, including the project files and the assets. It is worth asking every studio you speak to, because keeping them is common and it makes every future update a new commission.
Yes, with Arabic voice-over and right-to-left layout handled natively. It needs to be in the plan from the storyboard, because Arabic changes text length, layout direction and timing. Adding it to a finished English animation means rebuilding a large part of it.
Completion rate first, because an animation nobody finishes has communicated nothing. Then whatever it was made to do: enquiries from the page it sits on, support tickets avoided, or sales team feedback on whether prospects arrive understanding the product.
Only if you have the project files. Without them a change usually means rebuilding the affected scenes from scratch, which is why we push so hard on file ownership. Send us what you have and we will tell you honestly what is possible.
In rough order: the number of unique scenes, whether characters need rigging, whether it is 3D, and how many languages. Length matters far less than people expect — a ninety-second film with six scenes costs less than a forty-five-second one with twenty. If the budget is fixed, the most effective lever is simplifying the script rather than shortening the runtime, and that is a conversation worth having before the quote rather than after.
Yes, and it usually improves the result. Working from your real illustration style, icons and colour system means the animation looks like it came from your company rather than from a stock template. Where the brand has no illustration language yet, we will develop one that can be reused afterwards rather than one that only exists inside this video.
Yes. Lottie files are vector-based, scale cleanly, weigh a fraction of a video file and can be recoloured in code, which makes them the right answer for interface animation, loading states and icons. It is a genuinely different discipline from producing a film and we handle both.
A clear statement of what the animation is for and who watches it, access to whoever knows the subject properly, your brand assets, and one named person who can approve. The last of those matters more than it sounds: the projects that overrun are almost always the ones where approval was distributed and nobody could say yes.
Wherever the decision is being made, which is frequently not the homepage. Product pages, sales follow-up emails, pitch decks and onboarding flows usually get more value from an explainer than a homepage does, because the viewer there already has the question the animation answers.
No questions match — try another search.
Next step
Tell us the thing and who needs to understand it. We will come back with whether it is animation, film or neither, and roughly what it costs.
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