I turn briefs, raw footage and AI-generated scenes into finished, on-brand videos, in Kurdish, Arabic and English.
I made these three films for my application, each in one of this month's trending motion-design styles, using only facts from ovanya.com. They are spec work, not commissioned by Ovanya.
A sample ID card is photographed, cropped and pulled apart into its layers, then every Kurdish and Arabic field flies out as structured data and fills a form. It's the story of Ovanya's OCR for the KRG's Department of IT, built in 3D with callouts that track every part.
A Sorani sentence is typed with two classic mistakes (ر for ڕ, and Arabic ك for Kurdish ک). The checker underlines them, suggests the fix and corrects them, inside a sliding carousel of Swiss-style posters. Ovanya built this tool for Rudaw.
Ovanya's own hero line as kinetic type. One violet ribbon runs through the whole film: it pours into "OIL", draws the four service icons, wipes the line into Kurdish and Arabic, then settles behind the logo.
A brand ad for a car protection studio, built only from their own footage. I went through all 41 of their Instagram reels frame by frame to find usable shots, then built the story with kinetic type. Nothing on screen is invented.
A near one-take AI film: cast and city from GPT Image, shots animated with Kling, edited in After Effects with every cut on the beat.
A comedy hook, then a cascade of features shown in the real app, with an original score.
Script, storyboard and a beat list, with every claim checked against the client's own material.
Keyframes, clips and assets with Veo, Kling and GPT Image, retaken until faces, logos and text hold up.
Motion design in After Effects or code, editing in Premiere Pro, grading in DaVinci Resolve, an original score mixed to −14 LUFS.
16:9 and 9:16 from one edit, in Kurdish, Arabic or English, checked on a phone before it ships.