Post-production, standalone, broadcast-spec on delivery.

Edit + assembly

Story-first editorial. Assembly cut, structural edit, fine cut, and final polish — with client-review cycles managed through a secure review portal instead of endless email chains. Editors who cut for meaning, not just for cuts.

• Assembly + structural + fine cut
• Rough VO placed in edit
• Secure client-review portal
• Two review rounds included

Cinematic colour grade

Colour grading on calibrated broadcast monitors. Not a filter, not a preset — a shot-by-shot grade that matches your brand palette, corrects camera-to-camera mismatch, and lifts the footage into the register your director briefed for.

• Calibrated broadcast monitors
• Shot-by-shot grade (not preset)
• Multi-camera match + skin-tone consistency
• DCI-P3 / Rec.709 delivery

Motion graphics + animation

Titles, lower-thirds, animated stats, brand end-frames, infographic sequences, and full 2D animation inserts — designed inside your brand system, animated to the timing your edit demands. Same team that runs standalone motion projects at Darb.

• Title sequences + end frames
• Animated stats + infographic sequences
• 2D animation inserts
• Bilingual kinetic type (AR + EN)

VFX + compositing

Screen replacements, sky replacements, greenscreen composites, wire removal, colour separation, and integration cleanup. Not blockbuster VFX — the finishing-level VFX that every real broadcast piece actually needs.

• Screen + sky replacement
• Greenscreen composite finishing
• Wire + rig removal
• Colour separation + integration cleanup

Sound design + mix

Sound design, foley, music selection or custom composition, dialogue clean-up, and full mix to broadcast spec. Sound is what makes a corporate film feel expensive; delivered on a proper sound stage, not a music-library dump.

• Custom sound design + foley
• Music selection or composition
• Dialogue clean-up + de-noise
• Broadcast-spec final mix (LUFS)

Voice-over (AR + EN) + subtitles

Curated roster of Arabic and English voice talent — Khaleeji, MSA, Egyptian, Levantine, and international-standard English. Voice-selection samples reviewed with you before recording; final VO recorded on a broadcast-treated booth. Subtitles delivered as burn-in + SRT sidecar.

• Curated AR + EN voice roster
• Broadcast-treated VO booth
• Voice-selection samples pre-approved
• Subtitle burn-in + SRT delivery

Agencies subcontracting post

Regional and international agencies with shot footage that needs finishing — TVCs, brand films, campaign content. White-label engagement, agency reporting cadence, agency-facing branding on the delivery.

Production companies with foreign shoots

International production companies that shot on-location in Saudi and want to finish in-country — for regulatory workflow reasons, Arabic-cut requirements, or simply because Riyadh finishing is closer to the commissioning client than a London or LA post house.

Corporate marketing + comms teams

Enterprise brands with an internal video team that shoots but doesn't finish — internal-comms films, executive interviews, campaign content. We take the OCF and deliver a polished master, plus every short-form cut you need.

Broadcast + streaming productions

TV producers, streaming-platform shows, and broadcast series needing episodic finishing — colour, motion, sound, VO, delivery masters — to a network or platform's exact tech spec.

Documentary + long-form productions

Documentary teams delivering long-form projects that need the full editorial-plus-finishing pass — assembly through delivery. Sensitive editorial work, cultural context, and archive-grade delivery.

Government + public-sector productions

Ministry-produced content, public-service announcements, and government-linked content requiring bilingual finishing, in-country file custody, and archive-grade delivery from day one.