★★★★☆
Honest about what they could not do, which is how we ended up trusting what they said they could.
TO
Théo O'NeillMarketing Director · Northwind
Video editing, graphic design, app and website design, animation and motion graphics, and UGC content — one team, first frame to final export.
A.I.M began as two editors and a rented suite. Nine years later we have delivered more than 4,000 projects for over 200 clients across 24 countries — commercials, product films, brand systems, apps, sites and enough short-form to fill a year of feeds. We never split the work across agencies. The team that takes the brief is the team that exports the master.
Long-form, short-form, and everything cut for a feed.
Identity, campaign and print work built on a system.
Product interfaces, from first flow to developer handoff.
Marketing sites and storefronts designed to convert.
Titles, explainers, transitions and brand motion.
Creator-style content produced at campaign volume.
Drag, scroll or use the arrows. Every frame below was cut in-house.
112 reviews across every service we offer.
Honest about what they could not do, which is how we ended up trusting what they said they could.
We have used four studios for this and only kept one.
Same team from the kickoff call to the final export. That alone was worth the fee.
Forty short-form cuts in eleven days, all correctly sized and named. Nothing bounced back from the platform.
The motion package they built plugs straight into our templates. Our junior designer uses it daily. Forty short-form cuts in eleven days, all correctly sized and named. Nothing bounced back from the platform.
The site they built loads faster than the one it replaced and converts about a third better.
Clear pricing, fixed scope, no surprise invoice at the end.
We have used four studios for this and only kept one.
The animation is subtle enough that nobody notices it and the page feels twice as expensive. The UGC batch tested better than the polished spot. They told us that would happen.
They work in our timezone even though they are not in it.
Forty short-form cuts in eleven days, all correctly sized and named. Nothing bounced back from the platform. Every asset arrived on spec. Our media team had nothing to fix.
They work in our timezone even though they are not in it.
They rebuilt our logo as proper vector after we had been sending a PNG to printers for two years. Turnaround is the reason we stayed. Three days, every time, without us chasing.
They matched our existing brand so precisely I had to check which assets were new.
The animation is subtle enough that nobody notices it and the page feels twice as expensive.
Two revision rounds included, and we only needed one on all six projects. Our conversion rate moved before our ad spend did.
Every asset arrived on spec. Our media team had nothing to fix.
Subtitles in three languages, all correct, including the Arabic typesetting that everyone else got wrong. They cut our launch film in four days and it still outperforms everything we have made since.
We have used four studios for this and only kept one.
Forty short-form cuts in eleven days, all correctly sized and named. Nothing bounced back from the platform.
They cut our launch film in four days and it still outperforms everything we have made since.
They matched our existing brand so precisely I had to check which assets were new.
The site they built loads faster than the one it replaced and converts about a third better.
Turnaround is the reason we stayed. Three days, every time, without us chasing. Same team from the kickoff call to the final export. That alone was worth the fee.
A single edit turns around in three to five working days. A brand system or a full site runs four to eight weeks. Short-form campaigns sit in between — we usually deliver the first batch inside two weeks and iterate from there.
The brief, the raw material, and one decision-maker. If you have brand guidelines, send them. If you do not, we will build what is missing as part of the job.
Two, on every project, at no extra cost. In practice most work settles in one. Further rounds are billed hourly and we tell you before the clock starts, never after.
Most of our work is remote and we have delivered in 24 countries. We overlap at least four hours with your working day, whatever timezone that means for us.
You do — outright, on final payment, including the project files and not just the exports. We keep an archive copy for two years so you can come back for a re-cut.
Yes, and we would rather. Send the guidelines and the master files. If something in them is broken, we will flag it rather than quietly work around it.
It depends on the project — its scope, length and how fast you need it. Every quote is fixed-price against a defined scope, and we offer packages and discounts that scale with how many projects you bring us: the more you produce with us, the better the rate.
Yes. Monthly retainers start at 20 hours and suit teams shipping continuous short-form. Retainer hours roll over one month, and we report where every hour went.
Yes. We deliver subtitles, voice-over direction and full localisation in all four languages this site runs in, including proper right-to-left typesetting for Arabic.
We take them when the calendar allows, at a 40% rush rate. We will tell you honestly if the deadline is not achievable rather than accept it and miss it.
Whatever the platform needs — 16:9, 9:16, 1:1, 4:5, plus ProRes or H.264 masters, and every social cut sized and named to spec.
Routinely, before the first call if you prefer. We also keep unreleased work out of our own showreel until you have launched.
Tell us what you are making. We reply within one working day.