88,800 views
10,700 likes
923 saves
*TikTok exclusive
sedyyfilms Shot entirely on the Galaxy S26. @samsung
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I finish my color by hand in the edit, a warm grade and a backlit frame exposed for the sky. Fujifilm's color and image science puts that color in the frame when I shoot.
I would take the GFX100RF on a full trip and shoot the whole thing on it. The color arrives finished in the frame, so the work goes from the camera to the post without a grade in between, and everything the camera is built around gets used along the way.
Nine months of my creative work has been watched 41.8M times, and viewers regularly ask what I shoot on.
One full trip, shot on the GFX100RF from the first morning to the last. The color I usually spend an edit building arrives in the frame, so a set of finished photographs exists the day they are taken. Where the trip goes and which frames make it get decided with you on a call.
The photographs are the actual deliverable, shot on the GFX100RF across the trip. The Reel that comes with them is the process running beside it, from the camera coming out of the bag to a frame that is finished the moment it is taken.
A package like this, with the Reels, the carousel of stills and the Stories set scoped above, plus six months organic and thirty days paid usage, is priced around $7,000. Everything is tagged to you.
This is a starting point, not a fixed price. Tell me the budget you are working with and the package gets rebuilt around it, with the scope moved up or down to match.
The process alongside the stills, cross-posted to Instagram and TikTok. Scope starts at one Reel and scales to three as the project grows.
Posted to 1M+ AudienceThe actual photographs from the project, shot on the GFX100RF and carried exactly as they came out of camera.
Posted to 275K+ InstagramDelivered live while the shoot is still happening, each Story tagging Fujifilm directly.
Posted to 275K+ InstagramDelivered in full resolution and licensed for your channels. 6 months organic and 30 days paid, both extendable.
Yours to Keep & RunNobody buys a camera from an advert any more. They watch somebody they already follow shoot real work on it, and then they go and find out what that frame was shot on. The review comes later and the shot comes first.
Across the 126 videos I have posted in the last nine months my videos average 332K views each. Over the same nine months that came to 513K saves and 579K shares, which are the two things nobody does by accident. Saving a post is somebody planning to come back to it, and sharing it is somebody putting their own name behind the recommendation. That is intent, not attention, and it is the part that keeps working after the campaign ends. The videos stay up on my page, so somebody can find one a year from now and watch that camera being used.
Every figure here is Instagram only. The same videos also go to a separate TikTok audience, so the real reach is higher.
Real campaigns, real numbers. The same craft, aimed next at a personal project on Fujifilm glass.
A paid campaign for the Galaxy S26, built around Samsung’s new Horizontal Lock feature. Shot as a fully cinematic piece instead of a demo, with the feature used for real through story-first, face-forward filmmaking, so it plays like content first and an ad second.
The DJI Osmo 360 launch, captured as a single-take 360 story built to show the camera in real use, out shooting at golden hour. One tap, the whole scene.
The Insta360 Ace Pro 2 launch, shot as a cinematic low-light travel piece rather than a spec demo. That format carried it past half a million views on TikTok.
The Antigravity A1 flown at sunrise over Budapest, shot as a morning film instead of a product demo. The first 360 drone, shown doing the thing people actually want it for.
Sponsored storytelling for Wondershare’s creative software, Repairit and Recoverit. Two briefs that could easily have been screen-recorded tutorials, told instead as real moments from my own workflow.
Across the two posts: 115K+ views on Instagram and close to 100K more on TikTok, for a software tool. That is the point of the format. The product sits inside a story people already want to watch, and that same trust is what a personal project on Fujifilm glass would carry into every frame.
200+ comments under my videos ask about a camera or a lens, with no prompt from me.
My content opens on me, not the view, and my audience knows my face and trusts my taste. So when the gear in my hands shows up in my frame, the comments fill with people asking what it is and where to get it.
Every piece is color-graded, sound-designed, and paced for emotion, so it plays as content first and advert second, and sponsored work sits on my grid without breaking it.
That is likes, comments, saves and shares measured against the reach of each post, and half of everything I put out does better than it. These are not passive followers. They save, share, and DM asking "where is this?" and "what did you shoot this on?" within hours of a post going live.
Everything I post is built on story, cinematography and the feeling of actually being there, as that is what my audience stays for and why they trust what I show them. That trust is what a brand steps into when we work together.
Eduard crafts cinematic travel and lifestyle visuals that fully immerse audiences into his world. His content evokes emotion, inspires adventure, and consistently resonates at scale, built on a foundation of authentic storytelling and a filmmaker's eye for every frame. His work has reached over 700M views and earned the trust of some of the world's most recognizable brands.