I am a content creator and videographer in Toronto. I concept, shoot, light, and edit branded video for Instagram and TikTok. The work has passed 150 million organic views for a luxury car dealer, two jewelry brands, a gym chain, and a list of recording artists.
Viral is what travelled. Craft is what was hard to shoot. Scroll the row, click any card to play it.
Views are easy to screenshot. Here is what was broken and what I changed.
Nothing is permanent. A piece runs once, and when it sells out it does not come back. That only works if the audience is already there on drop day, so the content is the business, not marketing sitting beside it.
Everything a customer sees. Concept, shoot, light, edit, publish. Product photography and campaign film. I own the calendar, and I hire and direct models when a shoot needs them.
A short way into the launch I landed on a format that works every time. Macro on the silver, one hand, hard light against a cold dark field, no talking. Every shoot since starts from something proven instead of from nothing. Two posts in that format went to 475K and 427K.
I directed the brand identity, the logo, the website, and the funnel, and hired and managed the people who built them. Most people running social inherit a brand. I built the container the content lives in.
The account was not performing. A large following and posts that went nowhere, because everything on it was commercial footage cut down, and the platform punishes anything that looks like it cost money.
The brief was awareness and staying in the trend, not polish. So I stopped asking what looks good in a boardroom and started reading what the algorithm was actually pushing that month, then shot that. Concepted, shot, and cut in house.
It is content of its time and it looks it now. That was the job.
60 million organic views in four months, top video at 22.2 million. The one that matters more is the second at 6 million, because that is the difference between a fluke and a format.
Run Instagram end to end for an established jewelry brand sitting at 270,000 followers. One person, no crew, no studio time.
Around four Reels a week, concept through publish. Shot the product, lit it, cut it, wrote the hook. Read Insights weekly and rebuilt the calendar around whatever was carrying reach instead of guessing.
15 million organic views in three months, and the account grew from 270,000 to 320,000 followers while I ran it. Top Reel reached 2.5 million.
Same shape as Jaguar. A gym advertising itself to people who had already joined, with facility shots and class schedules. No reason for anyone outside the building to stop scrolling.
Same client ask as Jaguar, awareness and trend relevance. Built the content out of the gym floor itself, real members and real reactions, cut tight enough to survive the first second. Shot and edited the whole run.
55 million organic views across the campaign, with single videos at 17 million and 9 million on an account that had never cleared a million.
End to end, or slotted into a team that already has a system.
I show up with the camera and the lights, not just the ideas. Product, portrait, on set, and live.
Edits built for the first second. Hooks, pacing, grade, and captions that hold retention.
Calendar, publishing, and the analytics read afterward. I build the next month out of last month's numbers.
I started shooting in Almaty and ended up running social for a Jaguar Land Rover dealer, which is where I learned that a big follower count means nothing if the content is not built for the platform it lives on.
Since then I moved to Canada, finished a diploma in Broadcasting and Film Production at Fanshawe College, and worked across jewelry, fitness, retail, live events, and music video. Alongside the brand work I co-direct, run lighting, and line produce on music video and commercial sets with Fatty Soprano and Shutterr Productions.
Most people who can grow a social account cannot light a product or run a set. Most people who can run a set do not understand a feed. I do both, which is why the short-form looks shot rather than filmed on a phone.
Based in Toronto. English, Russian, and Ukrainian.