THE BIG AGENCY
Commercial · Corporate · Vertical · Post-production
The Big Agency is a video production company in Amman, Jordan that shoots and edits in house: commercial and campaign films, corporate films and event coverage, vertical social cuts, and post-production on our footage or yours - editing, colour grading, sound design and motion graphics. Work starts from a written scope. Arabic and English are written separately. The studio is open 24/7.
Looking for the service itself - scope, deliverables and process? Photography and Video Production
Films made to sell something: a product launch, a seasonal offer, a brand campaign. Where the film runs decides its length, its ratio and how the first three seconds are cut, so we start there. Concept, script, shoot and edit sit in one team.
The video a company needs once someone knows the name and wants to see what is behind it: a profile film, a facility tour, interviews with the people who do the work, training video. We cover conferences and launches too, and cut a recap film plus short clips.
Post-production is a service on its own here - content creation and post-production - and it does not require that we shot the material. Send footage from a previous shoot, an internal camera or another supplier: we edit, grade, design the sound, add motion graphics and export the platform versions.
Five things you can verify before signing anything, not opinions about our work.
| Shoot and post sit in the same team | Photography, video, editing, design and copy are produced in house, and the editor is in the room on the shoot day - so a missing shot is caught then, not three weeks later. |
|---|---|
| A written scope before work starts | Shot list, deliverables, formats, revision rounds and delivery dates are agreed in writing before the first shoot day, and the quote is written against that scope. |
| Raw footage and project files stay in your name | Source files, project files, hosting and platform logins are registered to you and handed over. You can take the material to another editor at any time. |
| Arabic and English are written, not translated | Script, voice-over and on-screen text are written separately in each language. The Arabic is not a subtitle track pasted over an English idea. |
| The studio runs 24 hours a day, 7 days a week | Night shoots, dawn exteriors, a restaurant filmed after closing, an edit finished overnight before a morning launch. We work with clients across Jordan and the Gulf. |
All three produce video, and each is the right answer sometimes. The differences show up before the camera is switched on and after it is switched off.
| In-house phone content | Freelance videographer | Production company with post | |
|---|---|---|---|
| Pre-production | Decided on the day | A shot list, if you ask | Written scope, script and storyboard before the shoot |
| Crew and equipment | One phone, available light | One operator, one camera, extras hired in | Camera, lighting, audio and crew booked to match the script |
| Sound | On-camera mic and room noise | A lapel mic when requested | Recorded on dedicated channels, then designed and mixed |
| Colour and grading | A filter chosen in the app | A preset, if grading is included | Graded to a delivery master, matched across the set |
| Versions per platform | One vertical cut | Usually one master file | Vertical, square and 16:9 from the same edit |
| Ownership of raw files | Left on a staff phone | Ask before the shoot, not after | Raw footage and project files handed over in your name |
Every sector has a different reason for pressing play, and the brief changes with it. These are the six we film most often in Amman, Jordan.
Filming is the visible half. Editing, colour, sound design and motion graphics decide how the film looks on a phone. Ask whether post-production stays in house or is passed to a freelancer, and ask to see a graded film rather than rushes.
A quote without a scope is a number you cannot compare. Ask for shoot days, crew, locations, deliverables, formats, revision rounds and dates on paper. Two quotes that look far apart are usually two different scopes.
Raw footage, project files and graphics should be yours, and the answer belongs in the contract. If a supplier keeps the source material, every future edit goes back through them, at their price and on their calendar.
A film that runs on a website, in a feed and on a conference screen needs different framing and different lengths. Ask whether vertical, square and 16:9 versions are prepared inside the same edit or invoiced later as new work.
Most video in Jordan needs an Arabic version and an English one. Translated scripts sound translated: the rhythm is wrong and the captions run past the cut. Ask whether each language is written on its own, and by whom.
There is no single correct answer, and a company that claims the title should be treated carefully. Judge any production company on five checkable things: post-production done in house, a written scope before the shoot, raw files that stay in your name, platform versions prepared inside the same edit, and Arabic and English written separately. The Big Agency in Amman, Jordan meets all five, and the studio is open 24/7.
Cost follows the scope, so we do not publish a figure for video. Shoot days, crew, locations, deliverables and the depth of post-production move it most. We quote against a written scope, so you can see what changes when a shoot day or a set of vertical cuts is added or removed. Ad spend is separate and paid to the platforms directly.
Most commercial work runs three to six weeks from brief to delivery: concept and script, pre-production, the shoot, then editing, colour, sound and versions. Corporate interviews and event recaps are faster; a built set or heavy motion graphics sit at the longer end. The actual dates are fixed in the written scope.
Yes. Content creation and post-production is a service on its own, and it does not require that we shot the material. Send footage from a previous shoot, an internal camera or another supplier, and we edit, colour grade, design and mix the sound, add motion graphics and subtitles, and export the platform versions.
16:9 for websites, YouTube and conference screens, and 9:16 vertical for Reels, TikTok and Shorts, with square versions when a placement needs them. Vertical is framed on set rather than cropped afterwards, and the cuts are prepared inside the same edit. Captions come burned in or as a separate subtitle file, in Arabic, English or both.
The podcast studio runs synchronised cameras that shoot 4K. On other shoots, capture and delivery masters are produced at the resolution named in the written scope, which leaves room to reframe for vertical and square versions without losing resolution and keeps the master usable on a large screen later. You can take compressed platform versions, a high-quality master, or both; the choice is written into the scope.
Yes, and both languages are written separately rather than translated: two scripts and two sets of on-screen text, cut to the same picture where the timing allows and recut where it does not. Interviews are usually recorded in both languages in one session, so the light and the setup match.
You do. Raw footage, project files, graphics, sound stems, hosting and platform logins stay in your name and are handed over, and you can take the material to another editor at any point. This is one of our published commercial principles, alongside a written scope before work starts.
A commercial is built around one action - buy, book, visit - and cut for paid placement, so length and the first three seconds follow the media plan. A corporate film explains who a company is and how it works, and usually runs on a website or at a conference. We produce both, and we cover events: multi-camera coverage delivered as a recap film, speaker sessions and vertical clips.
Send the brief, the deadline and where the video will run. You get a written scope with deliverables, formats and dates, and a quote against it. The studio is in Amman, Jordan, works across Jordan and the Gulf in Arabic and English, and is open 24/7. Call or WhatsApp +962 79 999 9481, or write to support@bi-growth.com.
Last updated:
Social-first vertical video
Vertical is not a crop of the wide film. It is framed on set for the safe areas of Reels, TikTok and Shorts, and the vertical cuts are prepared inside the same edit rather than ordered later as extra work. Captions are burned in, because most viewing is on mute.