Everything people ask us, answered straight.

Every service page on this site carries a from-price in AED — that is the floor for a real, scoped engagement, not a teaser. The number for your project comes out of scoping and arrives as one figure, broken down, in the proposal. Nothing reaches the invoice that was not in that document.

Because they are not quoting the same thing: one is a template with your logo on it, another is resold offshore work with a margin, another is a senior team building from scratch. Compare what is included — revisions, source files, who actually does the work — before comparing totals. Our proposals spell all three out.

The deliverables listed on the service page, two revision rounds in every production scope, and the handover — files, formats and source, organised. If something is out of scope, you hear it at the proposal stage, not on the invoice.

No. We price by scope, not by spend — a fee tied to your media budget rewards spending more, not spending well. Ad management is a scoped monthly engagement with its own from-price on the service page.

Each service page lists a typical turnaround in working days, and the proposal fixes dates for every stage of your actual project. Once production starts, the next due date is on your project's rail in Backstage at all times — you never have to ask.

Two rounds are included in every production scope, agreed before work starts. If you need more, that is a conversation with a price, not a surprise — the point of fixing rounds up front is that the last ten percent never becomes a negotiation.

The people who scoped it. Filming, design, build and distribution are all in-house — nothing is handed to a supplier you never met, and the strategy survives contact with production because the people who wrote it are the people making it.

Honestly: yes, waiting on client content is the most common delay in this industry. Each stage on our How-we-work page says exactly what we need from you — a paragraph and half an hour at the brief, a decision at the concept, one consolidated round of notes at review. Give us those on time and the dates hold.

Red flags to watch anywhere: guaranteed rankings, a price with no scope attached, no named people, and no way to see work before the reveal. Our answer to all four is structural — scope and price in one signed document, and a Backstage account where you watch the work move stage by stage while it happens.

No, and nobody honest can — the ranking belongs to Google, not to any agency. What we commit to is the work and the measurement: a programme with named deliverables, reported against real numbers, adjusted in the open. If someone promises you position one, that is your cue to leave.

Yes — that is the point of Backstage. Every project shows its stage, its next due date and every file as it lands. It is the difference between being told the work is going well and seeing it.

That is what discovery is for: before anything is proposed, we find out what is actually in the way — your market, your buyers, your constraints. If after that we think we are the wrong studio for the job, we say so and part as friends.

You do. Source files, repositories, accounts and data are yours — it is one of the six principles this studio operates on, and it is written into how we hand over: files, formats and source, organised the way you will actually use them.

Yes — domains, hosting and platform accounts are created in your name or transferred to it. An agency that owns your domain owns your business's front door; we think that is wrong, so we do not do it.

Yes. We build on mainstream, portable stacks — the same tools listed openly on every service page — and hand over the source, precisely so leaving is possible. No lock-in built on purpose is the rule; a client who stays should stay because the work is good.

Handover includes source, not just exports — project files, masters and the material behind them, organised. For film work, what is delivered is defined in the scope, so ask for raw footage at the proposal stage and it is in writing from day one.

Raw model output usually does look AI, which is why nothing here ships straight out of a model. Every generated shot goes through the same post pipeline as a filmed one — upscaling, stabilisation, colour, sound and edit — and a director decides what survives. If it cannot pass that bar, it does not go out.

The files, prompts and masters we produce are handed over to you like everything else. Copyright law on purely AI-generated material is still settling in most jurisdictions, so where registrable ownership matters — a logo, a hero asset — we say so up front and put human authorship where the law expects it.

The models are the commodity; the pipeline around them is the product. We use frontier models to generate footage and treat it as raw material — directed, graded, scored and cut like any shoot. Some briefs are right for it, some still need a camera, and scoping tells you which yours is.

You can, and for some things you should. What a studio adds is everything around the generation: the idea, the direction, the post pipeline, brand consistency across languages, and the judgement about what not to publish. Machines expand the options; people make the decisions.

Native. Arabic is written by Arabic copywriters in Modern Standard and Khaleeji, Persian by Persian writers, and neither is derived from the English. Layouts are designed right-to-left from the start rather than mirrored at the end.

If you sell to Arabic-speaking customers, yes — and a cheap translation is worse than none, because it reads instantly as not-for-you. This site itself runs in English, Arabic and Persian as three full mirrors; that is the standard we build to.

The studio is in Dubai and the work is made in-house by the people who scoped it. That is also why you can visit: bring a live brief and we will spend twenty minutes on it whether or not it becomes a project.

Ten: the GCC six, Iran, Türkiye, the UK and the US. Production happens in Dubai; strategy, design, code and content run wherever the project needs them, and most of the collaboration lives in Backstage anyway.

Your client account. Every engagement gets one: the stage each project is in, what lands next and when, every file as it arrives, requests and support in one thread, and points that come back as merch or credit against the next invoice.

Passwordless — enter your email and you get a link and a six-digit code; either one signs you in. No password to lose, nothing to reuse across your team's other accounts.

Completed projects, reviews and referrals earn points on your account. Spend them on studio merch or on discount coupons that come off the next invoice — they sit on your account, not on a promise.

No. Every read in Backstage runs under your own session against row-level security — your account sees your projects and nobody else's. What we do with your data more broadly is in the privacy policy, in all three languages.