[ESNINE®—PROJECTS]
Saudi Arabia
MOMAH: 8 YEARS OF IMPACT IN ONE FILM
Client
MOMAH
Location
Saudi Arabia
Date
ABOUT THE PROJECT
In 2018, MOMAH oversaw 4 non-profit organisations. By 2025 there were 313, and their GDP contribution passed 1 billion riyals. The ministry wanted that climb told in one film by two of its officials. We received 70 clips on a teal chroma set, with the voice on a separate recorder. In 3 days we turned it into a 4:37 film on clean white, every number built as it's spoken.
8 chapters, one rule
Before any footage, we set the rule every frame would follow: the speaker, a light background, one big Arabic word or number, one MOMAH green element.
Finding the right takes
70 clips came in. Three AI agents read them in parallel, and Saleh watched every take. On CAM 2, 10 of 24 made the cut.
Numbers that build as he speaks
The story is a climb, so the graphics climb with it. Each number lands on the word that says it: 4, 14, 62, then 313.
The artboards
Codex generated 63 brand assets to set each layout. The final artboards were built in Illustrator at 4K, in the MOMAH typeface, every Arabic word set by hand.
The timeline in motion
In After Effects the line draws itself year by year, in step with the speaker: 4 organisations, then 14, then 62.
A white set that never existed
The set was teal, and the spill reached the white thobes. The target was pure white, so Codex studied 5 key frames to plan a floor shadow that reads photographed.
From teal to clean white
Every shot was keyed into one 4K alpha master. The spill came off, and the speakers stood on white with their shadow under them.
The cut-out speakers
Seated and standing, both speakers keyed to transparency. The black chair stayed solid, and no teal survived on the thobes.
The alpha master
One ProRes 4444 alpha file covers the whole edit, so every shot drops onto the white set the same way.
8 LUTs for 2 speakers
The cameras recorded flat. Front, side, seated and standing: each speaker and each angle got its own LUT, matched to its own shadow plate.
Clean whites, true skin
Off the key, the footage still had a cyan cast. The grade gave back white thobes, warm skin and the red of the ghutra.
Across both speakers
The same white and the same skin tone on both speakers, from the first chapter to the last cut.
The grade in motion
A graded shot as it plays in the film: white thobe, warm skin, the red ghutra back in place.
The voice, found again
The cameras only caught scratch sound. Codex matched the external recorder to every shot, and the voice was cleaned before the mix.
Two waveforms, one moment
The same 8 seconds of speech. On top, the camera mic with room noise. Below, the final mix, where the gaps between words drop to silence.
Hear the difference
The camera sound first, then the cleaned voice in the final mix, so every number lands clearly.
From card to film
Here is where it all meets: the frame as it left the camera, and the same second in the film.
The raw take
The teal set, scratch sound and flat color, before the key, the grade, the graphics and the mix.
Three days, one film
4:37, 8 chapters, 2 speakers, 3 cameras, from brief to 4K master in 3 days. The AI crew carried the volume; the director made every call.