Graphic Design and Video Editing
Creative built for the placement it runs in, from static to short form video. Every concept cut into every format it needs, with a turnaround you can plan a campaign around.
What it is, and why it matters
Design work for marketing is a production problem before it is a taste problem. The concept might take an afternoon. Cutting it into nine placements, writing the captions, adapting the copy to fit each aspect ratio and versioning it in two languages is where the days actually go.
That is why campaigns stall. The idea gets approved, then the formats arrive in dribs and drabs over three weeks, and the launch slips until the moment has passed.
We treat the format set as part of the deliverable rather than as an afterthought. A concept ships complete, in every size it has to run in, with source files you can hand to anyone later.
Who this is for
A good fit if
- You need a steady volume of creative rather than one campaign a year
- You know where the assets will run, so the format set can be agreed up front
- Someone can approve concepts without a committee
- You have footage or photography, or want it produced alongside
Probably not if
- You need a full brand identity built from nothing, which is branding work
- Every asset is urgent, since a queue where everything is priority has no priority
- Feedback arrives one message at a time over several days
- You want unlimited revisions rather than an agreed number of rounds
What is included
| Deliverable | How often |
|---|---|
| Concept and creative direction | Per campaign |
| Static and carousel design | Monthly |
| Full format set per concept | Per concept |
| Advertising creative for paid channels | Monthly |
| Short form video editing with captions | Monthly |
| Motion graphics and animation | As scoped |
| Product and commercial video edits | As scoped |
| Presentation and pitch deck design | As scoped |
| Print and collateral artwork | As scoped |
| Arabic versioning of every asset | Per concept |
| Source file handover | On request, always |
How it fits together
Your first 90 days
- Week 1
Agree the format set and the rounds
We list every placement a concept has to run in, and agree how many revision rounds are included. Both of those are the things that slip on design projects, so they get written down at the start.
- Week 2
Concept first, in one format
You see the idea in a single format before anything is adapted. Approving a concept across nine sizes and then changing your mind wastes a day of work that never needed doing.
- Weeks 3 onward
Ship complete sets
Approved concepts go out as a full set, in every size, with captions burned in where the platform needs them. Anything used for paid media is named so the reporting can be read later.
- Ongoing
Build the template library
Recurring formats become templates your team can fill themselves for the simple jobs. It reduces what you pay us, which we would rather do openly than have you discover it later.
What you actually receive
Each concept is delivered as a named set: the master, every placement size, and the source file. Naming follows the campaign and placement, so a file in an ad account can be traced back a year later.
Anything intended for paid media ships with a caption sheet and the safe areas checked, since a headline behind a platform interface is the most common reason an asset gets rejected.
- The master concept, approved once
- Every placement size it runs in
- Caption and copy sheet for each version
- Source files, organised and named
Recent work
Where this usually goes wrong
The usual mistake: Designing one hero asset and squeezing it into every other size afterwards.
What we do instead: Design the concept knowing its format set. A story is not a square with margins.
The usual mistake: Approving a concept only after it has been built in every size.
What we do instead: Approve the idea once, in one format. Everything after that is production.
The usual mistake: Filling an ad with text that sits behind the platform interface.
What we do instead: Check safe areas for each placement. It is the most common reason an asset gets rejected.
The usual mistake: Keeping source files at the agency so the client has to come back for a colour change.
What we do instead: Hand them over. Clients who can make small edits themselves come back for the work that matters.
Questions we get asked
How do we get started?
Book a free consultation. We look at where things stand today, agree what to fix first, and send a written scope before any work begins.
How is the cost decided?
Every engagement is scoped to your goals, the size of the work and your timeline. You get a written proposal after the consultation, so the cost is clear before anything starts.
How will we know it is working?
We agree the measures at the start, then report against them in plain language, with the numbers shown so you can check them yourself.
Who will we work with?
A named lead who knows your account, backed by the specialists the work needs. You always know who to message.
Do you work in Arabic as well as English?
Yes. Content, campaigns and reporting can run in Arabic, in English, or in both, depending on who your customers are.
Can you work alongside our own team?
Yes. We can take on the whole service or fill the gaps around your in house team, and hand over cleanly if that ever changes.
What do you need from us?
Access to the accounts involved, one person who can approve work, and an honest picture of what has been tried before.
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