The most useful sponsorship example explains what a business bought. A follower total cannot show the scope of an agreement, how the content was used, or what the driver had to deliver. Those are the three things that decide whether a deal is worth anything to either side.
These examples come from Turn One's published campaign records on the Sponsor Wall, reviewed in October 2026. Each shows a different kind of offer, and the point of reading them is the structure rather than the names.
Three shapes a racing sponsorship can take
Almost every agreement in the sport is one of these, and drivers routinely price the second as though it were the first.
Posting to your own audience. The brand is buying access to the people who follow you. The deliverable is reach and context, and the value scales with how well your audience matches their customer.
Making content the business uses itself. The brand is buying creative. Your audience is almost incidental; what matters is the footage and the permission to distribute it. This is the shape most often given away at the price of the first.
A season partnership across several channels. Branding, social, appearances and content together, with different approvals and production needs for each element.
Knowing which one you are selling changes the price, the contract and what you have to deliver.
Content a brand used in its own advertising
Austin Jurs with EMF Harmony. In the published record, the brand used his videos as advertising creative, with monthly renewals across four months. Turn One handled pricing, the brand correspondence and closing the agreement.
The distinction worth taking from this is between producing content and distributing a post. A company buying creative for its own advertising is acquiring something it will put media spend behind, and that is a different product from a post on a driver's page.
If you are discussing work like this, settle five things before production: how many pieces, in what format, how many revisions, whether it may be used as paid advertising, and for how long. A renewal needs its own scope and fee rather than drifting on from the first month.
Source: Turn One Sponsor Wall.
Content made inside the partner's business
Cristian Cantú with TPS Armoring. The 2025 partnership included social posts and a visit to the company's plant, with content built around its vehicles in Mexico. The setting gave the campaign material that racing footage alone could not.
His published portfolio also includes a Bentley Mexico social campaign in 2025 and Valvoline Global social and Team Valvoline creative in 2026. Each starts from a different business and a different brief.
The practical lesson is to look at the business itself when you are discussing what to make. Access to a workshop, a product demonstration or an event gives a piece a concrete subject, which is almost always better content than a post about a logo. Before promising it, agree the access, what claims may be made about the product, the production requirements and where the finished work may appear.
It is also worth noting what sat underneath these deals. Cristian went from 9,000 to 146,600 followers, in Spanish, and the companies that signed him sell to exactly those people. The audience came first and the agreements followed it.
Source: Turn One Sponsor Wall, checked October 14, 2026.
A season arrangement across several channels
Preston Lambert with Club Avolta. The published 2025 case combines car branding with Reels and Stories, so the commercial scope carried several distinct deliverables rather than one.
That is more informative than treating sponsorship as a single undifferentiated product. Each element has its own production, placement and approval requirements, and a proposal should say what is included and who can authorise each part.
It is worth separating the audience from the agreement here as well. Preston has a single post at 14,408,544 plays with no brand anywhere in it, and has funded over $1.5M of his racing career from content. The reach that makes a partnership like this worth buying was built by content that was not selling anything.
Source: Turn One Sponsor Wall.
How to read any case study, including these
Most published sponsorship case studies in motorsport are promotional. Four questions separate the useful ones.
What was actually delivered? If the study does not list deliverables, it is an announcement rather than a case study.
What did the brand get to do with it? Usage rights are the difference between a post and an advertising campaign, and they are the most commonly omitted detail.
What is the evidence, and when was it checked? A figure with no date is a claim.
What is not being said? Almost no published case study states the fee, and none of these do either. An announced relationship is evidence that an agreement exists. It is not evidence of a price, a sales return or an audience outcome.
What these do not prove
Worth saying plainly, because this is where case studies get misused.
They do not show what you would be paid. They do not show how long a similar conversation takes. They do not establish that a comparable brand will say yes to a comparable driver. And they are selected examples from a published portfolio rather than a representative sample of every approach made.
What they do show is the shape of real agreements: what was bought, what had to be produced, and which questions had to be settled before anybody signed. That is the transferable part.
Building your own worked example
You do not need a famous partner to have a case study. You need one piece of work and an honest account of it.
Write it in four parts: what the business wanted, what you made, what the brand was allowed to do with it, and how it performed against your own average rather than as a raw number. Two paragraphs is enough.
One worked example like that, attached to a first approach, is more persuasive than any amount of audience data, because it shows a company what working with you actually looks like rather than describing it.
How these agreements get built
We have helped fund over 100 driver careers since 2021, with $8.5M in sponsorship funding for clients and more than 7 million followers gained across them. Those are company-reported totals, not independently audited, and no case study here should be read as a forecast of an individual result.
The pattern behind every one of these is the same and it is not complicated: build an audience somebody specific wants to reach, then sell a clearly scoped piece of work to a company that wants to reach them. The average verified funding across those drivers is roughly $85,000 each, and it undercounts, because renewals and later deals are not in it.
The driver's own time stays under an hour a week. The pricing, the brand correspondence and the closing are ours.