AI Video & AI Workflows
AI is a camera you cannot point and a lens you cannot buy, and on its own it produces something that looks like everybody else's. What makes it usable is the same thing that has always made footage usable: an edit, a grade, a sound design and somebody deciding what to throw away.
AI film production in Saudi Arabia is mostly this: it is used here for shots that cannot be filmed, for extending what was, for removing what should not have been in frame, and for finishing archive material that would otherwise be unusable — inside a normal post-production pipeline, delivered to the same standard as everything else.
Ahmed Gonaim is a video editor and filmmaker in Riyadh, Saudi Arabia. AI Video & AI Workflows for government bodies, brands and production agencies across Saudi Arabia and the Gulf.
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- AI Video & AI Workflows
- BASED
- Riyadh, Saudi Arabia
- EXPERIENCE
- 15+ years
- LANGUAGES
- Arabic · English
- STUDIO
- Direct Group · Riyadh
- Generated and extended shots, cut into live-action
- Text-to-video and image-to-video, finished as film rather than left as output
- AI adverts and concept films, from prompt to delivered master
- Set extensions, removals and clean-up — taking an object or a person out of a shot
- Restoring and upscaling archive and low-resolution material to HD and 4K
- AI voiceover and dubbing into Arabic and English, matched to the cut
- AI-assisted rotoscoping and masking on tight schedules
- The judgement about where it should not be used at all
Brand film · commercial · AI advert · concept and pitch films · archive restoration · social and vertical
- Video generation
- Runway · Sora · Google Veo · Kling · Luma Dream Machine · Pika
- Stills and concept
- Midjourney · Adobe Firefly · Flux
- Restoration and upscaling
- Topaz Video AI · Adobe Enhance
- Voice and dubbing
- ElevenLabs
- Inside the edit
- Premiere Pro Generative Extend · After Effects Content-Aware Fill and Roto Brush · DaVinci Resolve Magic Mask, Super Scale and Neural Engine
The generators change every few months and the list moves with them. What does not move is the part after generation — the cut, the grade and the finish — which is why the output looks like a film rather than like a demo.
DRAG TO REVEAL THE PLATE · WHAT THE CAMERA SAW, AND WHAT SHIPPED
Is the whole film generated?
Almost never, and it should not be. It is most useful for the shot that could not be filmed and the fix that would otherwise cost a reshoot — placed inside a real edit rather than replacing one.
Will it look like AI?
That is a grading and finishing question more than a generation one. Generated material has its own contrast and texture, and it has to be matched to the camera it sits next to or the cut announces itself.
Can you rescue old or low-resolution footage?
Often, yes — upscaling and restoration on archive material is one of the places this technology genuinely earns its place.
Can you make a whole advert with AI?
Yes, and it is one of the more useful things to do with it — a concept film or an advert built from generated shots, scripted, cut, graded and delivered in the formats a campaign needs. It still goes through a real edit, which is the part that decides whether it works.
Can you turn a script or a photo into a video?
Yes. Text-to-video and image-to-video are the two starting points, and the result is treated as footage: it gets cut, graded and finished like anything shot on a camera.
Can you remove someone or something from a video?
Usually yes, and it is one of the oldest requests in post — AI has made it faster and cheaper rather than newly possible. Cost depends on how much the camera moves and what is behind the thing being removed.
Can you do an AI voiceover, or dub into Arabic?
Yes, in Arabic and English, matched to the cut. Whether a synthetic voice is the right choice is a separate question and depends on what the film is for — for some brands it is fine, for others it is the wrong instinct.