1,481,711 views
163,544 likes
14,998 saves
+ 1M on TikTok
sedyyfilms late night drives in los angeles @rentfyv
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My audience follows me for the travel lifestyle I have built, and the car I am driving is what they ask about most. That is where the demand sits, and it is why a car in one of my videos gets asked about rather than scrolled past.
I would shoot a Rolls-Royce from inside the cabin as much as outside it, the world moving past the glass while the interior stays perfectly still. The videos are built around that quiet, an alpine road unwinding in the windows, the arrival where the door opens and the sound of the evening pours back in.
Nine months of my creative work has been watched 41.8M times and the audience watching is constantly asking about the cars I drive.
Nobody at this level is sitting through advertising, and the people you want are on Instagram watching somebody they already follow. When the car turns up inside a trip they are already invested in, it stops being an advert and becomes a question in the comments, and the question is what car is that. You cannot talk somebody into wanting a car. You can let them feel what it is like to drive one, and they will want it without ever being sold to.
That is intent, and intent shows up in the two things nobody does by accident. Saving something to come back to and handing it to somebody else. Over the last nine months that came to 513K saves and 579K shares and that is the part of the result that keeps working long after the day a post goes up.
The audience is global and that is the whole reason to put the car inside a trip instead of a media schedule. One post goes up once and by the end of that day it has been watched in Europe, the Gulf, South Asia and Latin America. It lands hardest in the markets where a European marque is still something people stop and photograph in the street.
A post does not stop working the day the campaign ends. It stays up on my page, it keeps being found, and somebody can watch that car for the first time a year after you paid for it. These are the people a marque has to win years before it ever sells them anything, and this is how you reach them while they are still deciding what they want.
Nothing else, and nobody else.
Across the 126 videos I have posted in the last nine months my videos average 332K views and 3.6K saves each, and 10 of them passed a million views in that window alone. Those are nine months out of my own analytics and your team would land on the same figures running the window themselves.
When the campaign closes the real figures come to you post by post out of my own analytics, and nothing on this page has to be taken on trust once the work has run.
Every figure on this page is Instagram only, and the same videos go out to a separate audience on TikTok, so the real reach lands well above what is written here. I can show you those numbers on the call.
One call and a route. We agree the country, the window and how long the first trip should run.
You hand over the car. From there the route, the locations and the shooting days are mine to plan.
I shoot the trip. Stories run live across those days, so the campaign is working while I am still shooting.
Every video comes to you before anything is posted. Once they are signed off they go out on the agreed schedule.
The scope opens if it works. The numbers come to you post by post out of my own analytics, and the wider campaign gets built on what they say.
This is the kind of trip I have wanted to build for a long time and I would love to shoot it with Rolls-Royce! Name a month and the first video can be shot inside three weeks of the call.
Real campaigns, real numbers. The same cinematic format I would bring to Rolls-Royce.
A partnership with RentFYV, built as a late-night drive through Los Angeles instead of a car ad. Face-forward POV from behind the wheel, cut so it plays like something you would watch anyway and not like an advert. 1.5M views on Instagram and another 1M on TikTok.
Personal work, not a campaign. A convertible night drive through Paris, past the Eiffel Tower and along the Seine, shot in the same format I would bring to a brand. 774K views on Instagram and 275K more on TikTok.
Two unsponsored drives from the same Swiss trip: an evening run out to the lake, and a golden-hour roadtrip through the Alps. 366K and 657K views on Instagram, with no brand behind either.
Carousels from the same trips. Unposed, personal, and the format my audience saves and returns to most.
Every driving video turns my comments into a car conversation, and a Rolls-Royce in the frame starts that conversation on sight. 530+ comments sit on the driving content alone, and that audience shows up for the car itself.
My content opens on me, not the view, and my audience knows my face and trusts my taste. So when a car appears in my frame, the comments fill with people asking what it is and where to find one.
Every piece is colour-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, because 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 recognisable brands.
