Story before style
Every cut answers one question: what should the viewer feel here? Effects come after the structure works, never instead of it.
I cut, grade and finish films for a living — and for the last few years I’ve been doing it for one of the biggest football clubs in the world. I lead the promo team at Al Ahly TV, where every programme intro, episode promo and campaign spot on the channel runs through our desk.
LuxenCut is my own studio practice: the same broadcast discipline, applied to brands, artists and agencies — with a full AI production pipeline built in.
Ahmed Abdelfattah I studied Management Information Systems, and that is still how I approach a timeline: as a system. Structure first, then rhythm, then feeling. Somewhere between the two I fell for editing, and seven years later post-production is the only job I’ve wanted.
At Al Ahly TV I lead the promos team — programme intros, guest and episode promos, sports campaigns and the channel’s AI-produced spots. Broadcast teaches you one thing above all: the deadline is real, and the work still has to be good.
Through LuxenCut I bring that to music videos, commercials and brand films. I edit in Premiere Pro, grade in DaVinci Resolve, build motion in After Effects and Blender, and generate whole scenes with Seedance and an identity-locked character pipeline when a shoot isn’t possible.
Every cut answers one question: what should the viewer feel here? Effects come after the structure works, never instead of it.
Cinema camera, phone, archive or AI — it all gets matched, graded and grained so it sits in the same film.
Shotlists, locked characters and real camera language. AI is a crew, not a shortcut — and the finish is the same as live action.

Brief, rushes, a rough board or a one-line idea — any of them is a starting point. You get a treatment and a schedule back before anything gets cut.