Superside publish a $15,000 monthly minimum on an annual term for their whole creative offering. We publish $2,000 a month for a video output ceiling. These are not competing products, and I would rather explain that than pretend otherwise.
Everything below about Superside comes from their own public pages, read on 24 September 2026. Check it yourself
Superside are the largest company on any of these pages and the comparison needs one important caveat before anything else, which is that they do not publish a video specific price at all.
What their site publishes, read on 24 September 2026, is that Superside subscriptions start at a $15,000 monthly minimum on an annual term, that the Dedicated plan starts at $30,000 a month on a twelve month term, and that all plans carry a $1,000 a month software fee. Those are whole account figures covering their full creative range, design, video, ads, brand and the rest, so anybody presenting them as a video editing rate would be misrepresenting them and I am not going to do that.
Their video scope is genuinely broad. They describe script, cast, shoot, edit and animate, which means they will put a crew on the ground and produce something from nothing, and their subscriptions include unlimited users and asset storage, their own platform, and creative analytics.
We publish $2,000 a month for up to 200 short-form videos and 30 long-form videos with thumbnails included, produced by close to 50 editors in-house in Dubai, working from footage that already exists. So the honest framing here is not cheaper or better, right, it is that one of us makes the film and the other one makes the feed.
Their column is what Superside publishes, ours is what we publish. Where they do not state something, the row says so instead of guessing.
| Pixel Samy Studio | Superside | |
|---|---|---|
| Published pricing | $2,000 a month entry point, for video output only | Subscriptions start at a $15,000 monthly minimum, covering all creative services rather than video alone |
| Higher tier | Deeper strategy engagements cost more than the entry point | Dedicated starts at $30,000 a month on a 12 month term |
| Platform or software fee | None | A $1,000 a month software fee on top of the subscription |
| Commitment | Monthly | All subscriptions run on an annual commitment |
| Do they shoot | No, we work from footage that already exists | Yes, they describe script, cast, shoot, edit and animate |
| Turnaround | 24 hour turnaround on the podcast line | No standard turnaround published |
| Where the team sits | Close to 50 in-house editors in Dubai | Described as global coverage with production hubs, specific locations not disclosed |
I want to be precise about this because it would be easy to be sloppy in a way that flatters us.
Their published minimum is a whole account figure. It covers their full creative offering across design, video, advertising and brand work, on an annual term, with a $1,000 a month software fee on top. It is not a video editing price and there is no video editing price on their site.
So a sentence like they charge fifteen thousand for video would be false, and any comparison page telling you that is not reading carefully. What is true is that fifteen thousand a month on an annual commitment is the entry point to working with them at all, which puts them in an enterprise bracket where the buyer is usually a marketing team rather than a founder.
Our two thousand buys one narrow thing. No shooting, no campaign strategy, no design system, no platform. Editors, clips, cuts, captions, titles and thumbnails, at volume, from recordings you already have.
The catch here is that those two sentences are not really in competition, and the only reason this page exists is that people do compare them, usually because both show up when you search for a video agency.
Superside describe script, cast, shoot, edit and animate. That first half of the sentence is the part we do not do at all.
If what you need is a brand film, an advert with actors, a product launch piece shot on location, then somebody has to write it, cast it, book the crew, run the day and post it. That is a production company job and it is expensive because it involves people standing in a room with equipment.
What we do starts after the camera stops. A founder records on their phone or in a home studio, a podcast gets captured on a multicam setup, a webinar is already on a hard drive, and our job is to turn that raw material into a month of published content.
The reason that distinction matters commercially is that shoots produce a small number of expensive assets and recordings produce a large number of cheap ones, and a content strategy usually needs both but in wildly different proportions. Four brand films a year and two hundred pieces a month is a perfectly normal split, and those two things should almost never come from the same supplier.
Their subscriptions run on an annual commitment, with the Dedicated plan on a twelve month term, and unused Flex budget rolling over for up to three months.
I think the rollover is genuinely good practice and better than most enterprise contracts, which let unused budget evaporate at month end and quietly punish you for a slow quarter.
Still, an annual commitment is a real decision, and it is the right one only when you already know what your creative demand looks like. If you are still working out whether you will publish twice a week or twice a month, committing a year of budget is how companies end up with unused capacity and an awkward renewal conversation.
We run monthly, which suits the way most founder-led content actually starts, tentatively. I will still say the thing against my own interest, which is that ninety days is the honest minimum for judging any content engine, because the first month is learning your voice, the second is finding what works and the third is when the compounding starts to show. Monthly terms are about flexibility, not about judging results in four weeks.
Superside describe senior creatives with global coverage and content hubs in cost-effective production markets, without naming the locations.
That is a normal enterprise structure and there is nothing wrong with it. It lets them put the right specialist on the right brief wherever that person happens to be, which is exactly what you want for varied campaign work.
We publish ours because at our end of the market it is the question that decides quality. Close to fifty editors, in-house, in Dubai, on our payroll. The reason we say it is that founder-led content lives or dies on whether the editor knows your voice, and voice familiarity only accumulates when the same people stay on the account month after month.
So the fair way to put it is that they are optimised for matching skill to brief, and we are optimised for accumulating familiarity with one person's way of talking. Those are both legitimate, and they are not interchangeable.
Then something has probably gone slightly wrong in the brief, and it is worth separating the two jobs before you spend anything.
Write down what you need in the next twelve months and split it in two columns. One column is things that need to be created, filmed, cast, animated or designed. The other column is things that need to be captured and published, which is most social content, podcasts, talks and founder video.
If the first column is large and well funded, you are shopping in Superside's bracket and our price is irrelevant to you.
If the second column is the bigger one, and the actual pain is that a hundred hours of recordings are sitting on a drive doing nothing, then you want capacity, not a creative partner, and you can see what that looks like on our short-form video editing page.
And if both columns are full, the sensible structure is one supplier for each, because paying enterprise rates to clip a podcast is a bad use of money and asking a volume studio to run a shoot day is a bad use of a shoot.
The useful version of this page, because a comparison where the other studio never wins is a comparison nobody believes.
Go with Superside when you are a company with a real creative budget and a wide brief, meaning campaigns, brand systems, advertising and video that has to be shot rather than edited, because that breadth is what the price is buying and no production studio our size replaces it.
They are also the right answer when consolidating suppliers matters more than unit cost. One annual contract covering design, ads and video, with rollover budget and a platform on top, is an easier thing to run inside a large company than five specialist vendors and five sets of invoices, and that operational simplicity is worth real money at that scale.
Come to us when the job is narrow and repetitive, which is turning recordings you are already making into a lot of published content every single month.
That work does not need a crew, a casting process or a platform, it needs editors and judgment at volume, and our $2,000 covers a ceiling of up to 200 short-form and 30 long-form pieces without an annual commitment, which is the whole idea behind our content flywheel.
KIMP sell unlimited video requests with two active at a time. We sell a published ceiling of 200 short-form and 30 long-form videos for $2,000. The difference is not the word unlimited, it is the throughput underneath it.
Lightning publish per-package prices in euros, starting at 50 euros for course creators. We publish $2,000 a month for a ceiling of 200 short-form and 30 long-form. One is a purchase, the other is capacity.
Vidpros sells you a dedicated editor's hours every workday. We sell a finished content operation with a volume ceiling on top. Here is the honest split, with both sets of published numbers.
Tasty Edits publish a clear price for every single video. We publish a monthly ceiling. The maths flips somewhere around fifteen pieces a month, and here is exactly where.
If your brief has both a campaign half and a volume half, split it before you buy anything, and I am happy to tell you which half we are useless for. So yeah. That's my way of saying it.