When a Kuwait ad needs a dub, not a reshoot

The job is a film you already paid for, in a language you still need. Arabic on an English master, or the other way. Same cut, same super, a voice the desk will put on air.

Teams ask for “AI video.” That usually means a new clip from a prompt. Dubbing starts from a take you will not throw away.

What the first assessment is for

We ask for the master, not a screen recording. We ask which language pair, and whether the on-screen type has to change. We ask who signs the mouth: the brand, the talent, a legal reviewer.

If you do not own the footage, or the talent contract forbids a synthetic voice, we stop. That is not a model problem.

If the master is clean and the constraint is a second market, AI video generation plus voice can mean lip-sync and a dub track — not a new shoot. We will say when the face will look wrong at 1080p. We will not promise a festival cut from a phone vertical.

This is not Mehfil’s packshot-to-UGC path. That job starts from a still and invents a talking head. A dub starts from a performance you already approved. It is also not a phone or IVR agent. Call audio is a different seat.

When we tell you to reshoot

If the original is a tight close-up and the new line is much longer, the mouth will lie. If the talent is the brand, a stranger’s timbre can cost more than a half-day. Keep the camera.

Kuwait and GCC spots often mix Gulf Arabic, MSA, and English in one flight. Name the register on the call. Do not ask a model to “make it local.”

Sequence is AI consultancy: master, rights, language, then a short test slate. A batch comes after one person says the mouth is good enough.

Bring the master file and the line sheet you actually aired. Book a consult or email hello@jamilglobal.com.