Brand & Product
The AI assistant's role in helping people communicate, find information and get things done is set in everyday Omani life, with each product demo growing out of a character's need.
01 / Background
ChatRaha's product film had to convey a product vision that runs from communication to smart services, while letting Omani viewers recognize their own lives in the architecture, clothing and home scenes. So the film starts with people talking to each other, then moves step by step to the personal assistant, finding services and getting things done.
With so many features, the visuals and the interface had to work together to make clear who is using it, what they want to do and what result they get. During production we paid special attention to keeping both sides of a call moving continuously, making chapter titles clear, and making the transition from starting a task to getting the result feel natural. The film first uses familiar everyday scenes to raise a need, then completes the process with interface cards.
02 / Creative Highlights
Omani architecture, local dress and home settings appear throughout, and every need, from video calls to travel to life at home, is voiced by a specific character. The product is no longer just a list of feature names; viewers understand what kind of life these features serve.
In the birthday sequence, the assistant sends a reminder first, then several friends each take on a task such as the card or the gift, before cutting to the party. In the travel sequence, the family first asks for a trip, the itinerary and weather appear, and then come the ride, the beach and the dinner booking. Following one need from conversation to cards to a real-life result makes it easier for viewers to see what the personal assistant is good for.
Chat bubbles and translucent cards carry the feature information, while the yellow bubble mascot stays by the characters' side in every scene. On the beach it puts on sunglasses, a booking confirmation card pops up, and the film cuts to the family at dinner. The playful character feels approachable, and the clear prompts tell viewers the task is done.
03 / Scene Breakdown
Aerial shots of the city, a phone on a bedside table in the morning, a hiker on a mountaintop and family on a video call: the voiceover opens with “Every day in Oman begins with connection,” explains that ChatRaha is run by a local Omani company, and then introduces the product through its website.
On a mountaintop, a man reaches out to pull up a friend, then holds up his phone to video-call his family, who are gathered around the dinner table on screen. The captions appear one by one: Friends, Families, Communities connect.
In a café, a woman sends a voice message; in the next shot a man on a mountaintop raises his phone to capture the sunset and share it.
In an old seaside town, a man looks down at his phone as message, photo and video cards float up around him; then the ChatRaha logo appears over the old town at sunrise.
The film cuts to a web-style product introduction with a group video call card in the middle, showing that the app is already live and ready to download.
A yellow chapter title lists voice, video, messages, groups, polls and location; each feature that follows is demonstrated by a specific person in a specific scene.
A yellow chapter title sits over a phone keyboard, with a line of small text listing the six features in this chapter, so viewers know at a glance which part of the film they're in.
A voice message turns into a yellow text strip; then a man at his desk video-calls his family, and the woman on screen smiles at him.
Four people share a call in a four-panel grid; then a man on the street starts a poll about where to go this weekend, and the options pop up one by one.
A man lies on the sofa looking at his phone as a set of stickers made by a friend pops up beside him.
AI is no longer a separate tool; it helps right inside the chat: translating, adjusting tone, making stickers and adding video effects. The chapter ends on the logo in three art styles.
In an airport lounge, a man types on his phone as the yellow title RahaAI floats at the top of the frame.
In the cabin, a man receives a voice message, and the card beside it shows English and Arabic side by side, placing cross-language chat in a travel setting.
Three buttons, Friendly, Professional and Concise, appear above the input box; one tap rewrites the message in a different way.
A photo of two women is turned into several cartoon versions, with the sticker cards lined up in front of her.
In a kitchen, the face of the person on the phone call turns into a cartoon fox.
The same fort turns first into pink cotton candy, then into a hand-drawn illustration and pop-art color blocks, matching the voiceover “AI becomes part of communication.”
This chapter uses a birthday party to show going “from intention to completion”: the assistant sends a reminder, helps order a gift and send invitations, and it all ends in two celebrations, one in the living room and one in the courtyard.
A woman by the window looks at her phone under the title From Intention to Completion; the yellow word Completion is the keyword of this chapter.
A woman in orange sits on the sofa as the yellow assistant reminds her that a friend's birthday is next Friday, then two gift cards pop up, ready to order.
In a split screen, two friends receive the birthday invitation at the same time and tap Going on the 16:00 event card.
Three women walk in holding a Happy Birthday sign and a cake; the next shot cuts to a birthday dinner in the courtyard at night, with the music card prepared by the assistant on the table.
Third-party services move into the chat: checking public services, ordering food, playing games, sending gifts and paying by QR code, all without leaving the conversation.
In the back seat of a car at night, a woman looks at her phone as the chapter title lights up in the middle of the frame.
A man sits on the sofa as the assistant reminds him his driving license is about to expire; a renewal card pops up, and one tap pays the fee right in the chat.
At her desk, a woman tells her phone what she'd like to eat; the phone shows “Order placed,” and in the next shot the delivery arrives at the office door.
A friend sends a game invitation card, and the film cuts to an undersea mini-game on a phone held sideways.
A woman sends a friend a gift in the chat, then scans a QR code at a convenience store and confirms a payment on the street.
The last chapter uses a family weekend outing to string every earlier feature into one complete task: one sentence states the need, and the assistant plans the itinerary, books the ride and reserves the restaurant. The ending recaps the film with quick cuts and a grid of images.
After the title User. ChatRaha. AI. Everything. appears, every passer-by on the street has a yellow bubble assistant floating beside them.
In the living room, a man tells his phone what he needs, and a day-trip itinerary for Muscat appears on screen right away, spelling out when to leave and why to avoid midday.
A sun icon lights up beside the assistant as a heat warning; the next second the living room fills with big, colorful sunglasses, and a little girl happily puts on a pair.
As the man packs, route and ride cards pop up; then the little girl sits in the car pointing at the beach outside the window.
The yellow assistant in sunglasses lies on a beach blanket as a restaurant booking confirmation pops up beside it: dinner nearby is booked.
A phone on a café table shows a successful payment, then shots from the whole film come together in a wall of images, closing on ChatRaha's vision.
04 / Storyboards & Final Frames
Shown in the order they appear in the film, these are frames we redid or added after taking on the project and that made it into the final cut: each shot starts with what it shows, followed by the final frame.
Shot 1.1
The opening panorama of an Omani city, later overlaid with the ChatRaha logo and the first line of voiceover.
Shot 1.2
The alarm time glows on the screen, and the weather and schedule cards beside it say “a new day has begun.”
Shot 1.3
In an old seaside town, message, photo and video cards float up around the character.
Shot 1.4
The city at sunrise, just before the ChatRaha logo appears.
Shot 1.5
Shows that ChatRaha is run by a local team in Oman.
Shot 1.6
The reception area of Deep Thinking, paired with the voiceover introducing the operator.
Shot 2.1
A man reclines on the sofa looking at photos sent by friends, illustrating the “Images” feature.
Shot 2.2
A voice message on the phone becomes a yellow text strip, with clear, legible text that sits steadily above the input box.
Shot 2.3
Under a desk lamp, he video-calls his family, and the woman on screen smiles at him.
Shot 3.1
The background shot for the RahaAI chapter title: a man typing while he waits for his flight.
Shot 3.2
Three rewrite buttons, Friendly, Professional and Concise, appear above the input box.
Shot 3.3
A woman in a light blue robe turns a group photo into stickers.
Shot 3.4
In a kitchen, the face of the person on the call is replaced by a cartoon fox, while a small window in the upper-right corner still shows the real person.
Shot 4.1
Three women walk in holding a sign and carrying a cake, each with a different outfit and headscarf color.
Shot 4.2
A courtyard at night with string lights and a table full of food, with the music card prepared by the assistant on the table.
Shot 4.3
A woman in a black robe reads the invitation at home with the yellow assistant beside her; this final frame also appears in the flashback at the end of the film.
Shot 5.1
A man looks at his phone in the living room, overlaid with a license renewal reminder and a processing card.
Shot 5.2
At her desk, a woman tells her phone what she'd like to eat.
Shot 5.3
At home, a woman picks a gift and sends it straight from the chat.
Shot 5.4
Walking down the street, he confirms the payment on his phone step by step.
Shot 5.5
Paying with a phone in a café, matching the voiceover “Without cash.”
Shot 6.1
Sitting in the living room, a man tells his phone the family wants to go on an outing.
Shot 6.2
A Muscat day-trip itinerary on the phone: when to leave, which beach to go to and why to avoid midday.
Shot 6.3
Hearing they're going out, Mom looks excited.
Shot 6.4
The phone lights up, and the yellow bubble assistant pops out from the edge of the screen.
Shot 6.5
A sun icon warns of the heat, the living room fills with big sunglasses, and a little girl puts on a pink pair.
Shot 6.6
A man packs a suitcase in the bedroom as the assistant pops up a ride card beside him.
Shot 6.7
The yellow assistant in sunglasses lies on a beach blanket; the dinner booking confirmation card is overlaid on this shot.
05 / Results
We delivered a landscape English product film of about 5 min 17 s at 1920×1080, structured in five chapters: Communication, RahaAI, Personal Assistant, Open Platform and AI Super Gateway, each with its own title animation.
Case Study
One app, five layers of features to explain: chat, an AI assistant, a personal assistant, third-party services, and finally “one gateway for everything.”
The film runs just over five minutes, and the audience is Omani.
The visuals had to look like their own lives, and the features had to be easy to follow step by step.
This is an AI product film we made for the Omani social and lifestyle services platform ChatRaha .
01
When the project reached us, the client already had a complete script and storyboard: five layers of product features, running from communication all the way to the “AI super gateway.”
The client cared most about three things:
The people and their actions within a scene had to flow, with a story and a human touch.
The steps of each feature had to be shown clearly.
Every chapter needed a clear title, with the big set pieces saved for the end.
So the first thing we did was give all five chapters layered title animations: a yellow keyword and a single line listing the features in that chapter, set over real-life footage.
The title sits over a phone being typed on, with a line below listing voice, video, messages, groups, polls and location.
In a five-minute film, viewers always know which layer they're watching.
02
Everyone in this film had to look like someone viewers might meet on the streets of Muscat.
Men wear white dishdashas and embroidered caps; women's headscarves cover the neck; living rooms, courtyards, the old town and the seafront are all arranged according to Omani architecture and customs.
More characters brought another problem: several women in headscarves could easily look alike. For each main character we made a character sheet, breaking out front, side and back views, cuff embroidery, shoes and several angles of the face, and gave each person a headscarf in a different color and pattern.
That way, viewers recognize the same person whether she's in close-up or full shot, on the sofa or in the courtyard.
03
An AI assistant's abilities can easily end up as a string of interface screenshots.
We set one rule for the whole film: whenever RahaAI's messages or cards appear, its character must be in the frame: a little yellow bubble sprite.
Its message bubbles are always yellow; its replies are paced slowly enough for viewers to read; and typing and pop-up cards come with a chime.
So it's no longer just a line of text on a screen. It floats beside the woman getting a birthday reminder, reminds the family to bring sunglasses before the trip, and lies on the beach in its own sunglasses to tell you dinner is booked.
A restaurant booking confirmation pops up beside the yellow assistant in sunglasses.
The playful character feels approachable, and the clear cards tell viewers: it's done.
04
For the personal assistant chapter, the script's keyword was From Intention to Completion.
A shot of someone smiling at a phone doesn't show what the assistant did. So we broke the whole thing into a chain of visible actions:
The assistant reminds her of a friend's birthday next Friday → gifts pop up, ready to order → friends receive the invitation and tap Going → three women walk in with a cake → a birthday dinner in the courtyard at night.
For shots with several people, we first drew line sketches to set where each person stands and what they hold, then generated the live-action-style frames.
The birthday surprise in the living room leads into the birthday dinner in the courtyard at night.
05
The last chapter had to deliver the biggest vision: the user says one sentence, and the AI gets it done.
We wrote it as a complete short story.
Dad says, “Raha, plan a family outing.” A Muscat day-trip itinerary appears on screen right away, spelling out when to leave and why to avoid midday. The assistant warns about the heat, and the living room fills with big, colorful sunglasses; then comes a one-tap ride, the beach, a dinner booking made from the sand, and finally the family eating together by the sea.
All dialogue between the characters and the assistant is voiced. For text-heavy interface shots, we checked again and again that the text on the phone screen was legible and spelled correctly.
A sun icon warns of the heat, and the next second sunglasses fill the living room.
06
In a five-minute product film, the hardest part isn't making it look good; it's keeping viewers with you the whole way.
Chapter titles tell viewers which layer they're in.
Local characters and settings let Omani viewers see their own lives.
The yellow assistant stays alongside throughout, tying every feature to a concrete result.
For brands that want to use AI video to explain a complex product to overseas markets, this project shows one thing: however many features there are, they can be filmed as everyday moments that are easy to follow and easy to remember.
FAQ
This film is divided into five chapters following the product's five layers of features, each opening with a title animation. Every feature starts with a specific person raising a need in a specific scene, and interface cards then show the result, such as renewing a driving license, ordering food or booking a restaurant.
We designed the visuals around Omani dress, headscarves, architecture and home settings: men wear white dishdashas and embroidered caps, women's headscarves cover the neck, and every main character has a character sheet with front, side and back views and costume details.
Each main character gets a character sheet first, and every frame is generated with it as a reference. Shots with several people start with line sketches to set positions and actions before the live-action-style frames are generated, and headscarves in different colors keep the characters distinct.
The final film runs about 5 min 17 s, 1920×1080 landscape, with English voiceover and subtitles. The project started in late June 2026, was revised daily based on client feedback, and the final version was delivered in early July.
Approach
Regional references, character designs, stills, motion assets and UI storyboards were organized to match one another. Characters and settings were prepared shot by shot, then product interfaces, titles and prompts were added separately: calls had to show both sides clearly, reminders had to appear in scenes where someone is using their phone, and QR scans had to lead into a payment result. That way the visuals feel lived-in and the steps are easy to follow.
In the birthday sequence, we put the reminder, replies, task assignments and bookings on screen instead of just filming people smiling at phones. In the final film, task cards pop up one after another within the same sofa shot before cutting to the friends' split screen and the party. The travel sequence uses the itinerary, a 38℃ weather alert and booking cards to explain why the plan was made that way, so the everyday atmosphere and the feature demo connect.
Local details were checked down to faces, headscarves and clothing, architecture and shop settings. Character sheets also broke out front, side and back views, cuff embroidery, shoes and facial angles, so the same character is recognizable in both close-ups and full shots. The interface uses the brand's yellow and a translucent style, and the bubble mascot stays consistent; every feature chapter has its own title, so even in a promo this long, viewers can tell which part they're in.
More Work
Ideal for brand launches · public-sector communications · cultural-tourism campaigns · IP transformation · event openers · earnings visualization · social campaigns · AI workflow development
