Jonathan Sterlin Tejada Has Built 150 Global Brand Campaigns

Apple and Takis do not market the same way. Neither do EltaMD Skincare and NetEase Games, or McDonald’s and Warner Bros. Discovery. A skincare brand sells trust built slowly. A snack brand sells impulse. A mobile game sells a hook you can act on in four seconds. Agencies staff these accounts separately for a reason.

Jonathan Sterlin Tejada holds all of them.

Working out of Santiago, Dominican Republic, Tejada has produced more than 150 branded campaigns for internationally recognized companies, most of them commissioned through TikTok One. TikTok built that platform in 2024 to consolidate its brand and creator tools, folding in the former Creator Marketplace and Creative Challenge systems, and it is now the official channel through which advertisers commission work from creators directly. Briefs come in, budgets are set, deliverables are scoped, and payment runs through the platform. It is a procurement pipeline, and Tejada has been feeding it at volume.

The output over a recent twelve month cycle exceeded 52 million organic views across United States and Latin American audiences.

Volume at that level usually comes with a visible drop in quality. It has not here, and the reason is a production method that treats vertical video as its own format rather than a delivery size.

Start with the opening. On a vertical feed the viewer is already scrolling when the video begins. The thumb is in motion. Roughly three seconds decide whether it stops, and that window closes before any brand message has had room to land. Tejada builds every placement outward from that window. The hook is not an introduction to the content, it is the content’s first and most important obligation.

Then the integration. The standard approach places the brand into a finished narrative, which is why so much branded content has a visible seam where the story stops and the sponsorship starts. Tejada writes the brand in from the first frame, embedded in ordinary daily narrative, so there is no moment where the viewer registers a handoff.

Then the build itself. Each asset is scripted, directed, and cut specifically for the vertical frame. Nothing is reformatted down from horizontal footage, which is the shortcut most brands still take and the most reliable predictor of a campaign that underdelivers. Horizontal composition puts information in places a vertical crop destroys. Pacing calibrated for a seated viewer reads as slack on a feed.

That process is what makes the range across the roster possible. A creator who works from templates can serve one brand logic well. A creator who builds each campaign from the format constraints upward can serve several, because the constraint is constant even when the brand is not.

The craft has a source. Before the commercial work, Tejada trained in acting and film production and spent years on Dominican film sets, including a stretch on the production team of El Plan. Blocking, coverage, and editorial rhythm are film disciplines, and they are almost entirely absent from short-form work made by people who arrived through social platforms.

He runs the commercial side himself through Tejada Capital Group MG, which means the person negotiating a campaign, directing it, and answering for its performance is one person. At 150 campaigns, consolidation is not a stylistic preference. It is the operational reason the volume is achievable.

What brands are actually buying here is worth naming precisely. It is not reach, which is purchasable. It is a production process built for a format that punishes anything designed for a different one, applied by someone who can hold a global brand’s standards and a feed’s attention economics in view at the same time. Tejada is continuing to develop campaigns for international companies while expanding audiovisual projects across the Dominican Republic and the United States, and the roster suggests the demand for that particular combination is not close to satisfied.