3D animation, 2D and character work, whiteboard explainers, motion graphics and product visualisation — scripted, animated, voiced and mixed in house. Arabic and English come out of the same production rather than one being dubbed onto the other afterwards.
The two questions answer each other, because animation is priced almost entirely by finished seconds and by style. A sixty-second whiteboard or simple motion-graphics explainer is the fastest and least expensive shape, typically two to three weeks. A sixty-second 2D animation with custom characters sits higher and runs three to five weeks. Full 3D animation or photoreal product visualisation is the most expensive per second and runs five to eight weeks, because every frame is rendered rather than drawn. Three things move the number more than clients expect: the number of distinct scenes, whether characters are custom-designed or library-based, and how many revision rounds are agreed up front. A bilingual Arabic and English delivery adds far less than commissioning two separate videos, provided it is planned before animation starts rather than requested after.
The style is a budget decision as much as a creative one. Picking it early is what keeps a project on schedule.
Typography, shapes, icons and data moving with intent. The workhorse of corporate communication because it explains abstract things — a process, a statistic, a service structure — without needing characters or a world. Fastest to produce and the easiest to update later when a number changes.
A hand drawing the idea as the narration unfolds. It reads as teaching rather than advertising, which is why it works for internal training and for explaining something genuinely unfamiliar. It also carries long runtimes better than most styles without the viewer disengaging.
Illustrated characters and worlds with real personality. The right choice when the story needs someone to relate to rather than a diagram to follow. Custom character design costs more than library styles, and it is usually the difference between a video that feels like your brand and one that feels like a template.
Modelled, lit and rendered in three dimensions. The only honest way to show what a physical thing does when filming it is impossible — a cutaway through a machine, a product that does not exist yet, a building not yet built. Most expensive per second and the most convincing when the subject is physical.
Photoreal renders of a product in motion — turntables, exploded views, material and colour variants. Once the model exists, generating every colourway costs a fraction of photographing each one, and the output works across ecommerce, print and exhibition screens from the same build.
Animation is expensive per second. These are the situations where it is nonetheless the cheaper answer.
A product in development, a service model, a building at design stage. You cannot film it, and a static render does not show behaviour. Animation is the only option that shows how the thing works before it is real.
Machinery, medical devices, infrastructure. A cutaway that reveals internal operation communicates in fifteen seconds what a manual takes eight pages to fail at.
Multiple locations, many product variants, or scenarios that are unsafe or impractical to film. Once the 3D asset exists, another variant is a render rather than another shoot day.
A live-action video with a wrong figure on screen needs a reshoot. An animated one needs an edit. For anything carrying numbers, prices or policy that will change, animation is the lower lifetime cost.
Booth loops and stage backdrops that must read from distance without sound. Animation is built for that constraint; recut live action usually is not.
Arabic and English audiences from one production. Re-voicing and re-typesetting an animation is straightforward; reshooting live action with a second presenter is not.
Animation goes wrong when feedback arrives late, because reversing an approved stage is expensive. So each stage ends with something specific for you to sign off before the next begins.
We agree what one thing the video must achieve, then write to it. Scripting to the intended runtime rather than trimming a long script later — an over-length script is the most common cause of a rushed ending.
Scene-by-scene boards plus two or three fully finished frames showing exactly how the final will look. This is the cheapest point to change direction, and the last cheap one.
Voice casting in Arabic, English or both, recorded before animation so timing is built to the real read rather than a placeholder. Music and sound design selected at this stage too.
The build itself, with a rough pass shared mid-way so you see motion and pacing before polish. Duration depends entirely on style — motion graphics at the short end, full 3D at the long end.
Colour, final sound mix, and export in every format you need — landscape, square and vertical, with and without subtitles, plus the source project file.
Most bilingual animation in this market is an English video with Arabic text dropped over it, and it shows. Arabic sets differently, reads in the other direction and needs its own timing against the voice-over. We build both versions from the same project rather than treating one as a translation of the other.
It is priced by finished seconds and by style. A sixty-second whiteboard or motion-graphics explainer is the most affordable shape, 2D with custom characters sits higher, and full 3D or photoreal product visualisation is the most expensive per second because every frame is rendered. The scene count, whether characters are custom or library, and the number of agreed revision rounds move the figure more than clients expect. Send the brief and the target runtime on WhatsApp for a costed quote.
Two to three weeks for a sixty-second motion-graphics or whiteboard explainer. Three to five weeks for 2D with custom characters. Five to eight weeks for full 3D or photoreal product work. Those include the approval stages; the schedule slips mainly when feedback on the storyboard arrives late, which is why we lock that stage before animating.
Yes, and from a single production rather than as two commissions. Both versions are built from the same project, with right-to-left composition, correct Arabic typography and timing rebuilt against the Arabic voice-over — not English animation with Arabic text placed over it.
Either. Most clients bring the message and we write to it, because scripting to the intended runtime is a specific skill and an over-length script is the most common cause of a rushed ending. If you have a finished script we will work from it and flag anything that will not fit the runtime before we start.
Two rounds per stage as standard — script, storyboard and rough cut — with further rounds quoted transparently. The reason revisions are staged rather than saved for the end is cost: changing direction at storyboard is inexpensive, changing it after animation is not.
Yes. We cast and record in Arabic, English or both, and we record before animating so the timing is built around the real read rather than a placeholder. You approve the voice from casting samples before the session.
You do, including the source project files. That matters more than it sounds — it means a future edit does not require coming back to us, and a studio that keeps the project files is keeping you as a hostage rather than as a client.
Yes. If you have brand guidelines, an illustration style or existing assets, we animate within them rather than imposing a house look. If you do not, style frames at stage two establish the direction before any animation begins.
Yes — Abu Dhabi, Sharjah and the rest of the Emirates, and remotely beyond them. Animation is one of the few production services with no location dependency, since briefing, review and delivery all run online.
A few lines about what the video has to communicate and who it is for is enough. We come back the same working day with the style that fits, a runtime, a costed quote and a delivery date — and if animation is the wrong medium for your message, we will say that instead.