Discover what vertical short-form content is, why it’s so popular and how appearing in one could affect you as an actor.
Once little more than a niche experiment, vertical filmmaking has become something of a global trend in recent years. Fuelled by the meteoric rise of TikTok and a growing consumer demand for short-form content, the Chinese micro-drama industry is expected to be worth $14 billion by 2027. With profits like that to be made, it’s no surprise there’s global interest in the future of the genre.
Here, we explain the increasing popularity of this new art form, what its future looks like and what all of this means for performers.
What is Vertical Filmmaking?
Vertical filmmaking is the production of video content specifically optimised for smartphones. Videos are shot for a screen that’s taller than it is wide, catering to the way people naturally hold their mobile.
It also signals the first time content has been designed to be displayed on a smartphone screen. Anyone who has tried to watch a Netflix drama displayed horizontally on a mobile will know they don’t quite look right simply because they were created for a larger screen. Vertical filmmakers typically adapt framing techniques to the narrower space available to focus on concise, impactful storytelling with a more intimate feel.
In China, vertical content has found its own niche. Micro-dramas are essentially short-form soaps, with episodes lasting between 60 and 90 seconds. These are usually free to view for the first few episodes, with a subscription required to continue watching. Some go on for thousands of episodes, but the Chinese audience laps them up.
When Did Vertical Short-Form Content Begin?
Vertical filming is not a new concept. Filmmakers have been experimenting with it since smartphones became a must-have. There was even a Vertical Film Festival in Australia that launched in 2014 but was cancelled in May 2020.
The difference is that, previously, vertical films were produced by filmmakers trialling a new format. Now, China’s booming micro-drama market is responding to consumer demand for a specific type of content.
Short-form vertical shows became popular in China during the COVID-19 pandemic. As people increasingly turned to their phones for entertainment, producers were encouraged to create content that would meet this demand. Online web-novels have been a big hit in China for years, with readers logging on daily for a new chapter. The rise of vertical filmmaking began when some of these were adapted for smartphones.
Apps like ReelShort, DramaBox, ShortMax and CandyJar TV stream a vast array of vertical shows falling into categories like ‘Young Love’, ‘The Hero Returns’, and ‘Werewolf and Vampire’. Typically, romance is at the heart of the story and with each episode lasting around a minute, there are plenty of twists and turns.
China stands out as the world leader in the vertical format, but it’s not the only country doing it. In April 2020, the US vertical film platform, Quibi, was launched. Founder Jeffrey Katzenberg raised $175 million from investors (including the BBC), but the platform folded after less than nine months due to a lack of interest. So, despite positive signs for the genre, it seems success is not guaranteed.
The Rise of Vertical Short-Form Content
Vertical filmmaking has recently expanded its reach to other countries, gaining popularity in India and the Philippines, among others. After a slow start, it’s also building a US fan base. ReelShort and other vertical drama apps like DramaBox have gained significant traction, with ReelShort achieving revenue of $22 million in 2023.
Vertical films initially struggled to transition to America. The first attempts to break into the US market focused on English-speaking voice artists dubbing over the original Chinese footage. Viewers often found this jarring and some cultural references didn’t transfer well. For example, in Chinese drama, a nosebleed is a sign of love, which confused viewers in the US.
Nonetheless, producers picked up on the fact that there was interest in the format. More recent vertical films aimed at Western audiences have been adapted from the Chinese version and reshot in America using English-speaking actors.
Since this innovation, the number of subscribers has been on the rise, and American audiences are increasingly consuming mini-drama content. Major players such as Netflix are now exploring the potential for the genre. Elsewhere, Channel 4 aims to establish itself as ‘a digital-first public streaming service by 2030’ via its Fast Forward program and is keeping a close eye on how consumers react to growth in vertical filmmaking.
While vertical filmmaking isn’t yet as popular in the UK as it is in China, it’s certainly getting there. There are production companies here that focus on vertical filmmaking, and Jen Cooper, the founder of UK-based website Vertical Drama Love, has been described as the ‘first ever vertical critic’.
Much of the success of these shows is put down to increasingly fragmented viewing habits. Viewers watch micro-dramas while commuting, when taking a short break, or when they need a bit of escapism but just don’t have time for a full-length TV show. This way of using smartphones to incorporate short-form entertainment into a busy lifestyle shows there is significant untapped potential across the globe.
Interestingly, despite the popularity of the format in China, the government has started to censor some of it. This could encourage Chinese producers to seek export opportunities in more liberal jurisdictions and create more opportunities for actors in the West to get involved. Of course, anyone being offered such a chance must carefully consider the quality of the production and what that might mean for their career.
There are concerns about the quality and perception of vertical content – particularly those made in China. While the future of the industry shows potential, its current reputation is for cheesy scripts, cliche tropes and poor-quality production.
Should Actors Look for Roles in Vertical Content?
For performers, vertical filmmaking presents opportunities and challenges. Increased demand means casting calls are abundant. Micro-dramas often record an entire season in just over a week, so could represent a good way to keep working between other jobs or quickly build a portfolio. This is certainly worth considering for actors who are between jobs or looking to build a portfolio.
But beware – pay rates vary considerably, so it’s worth doing due diligence on the production company. There are stories of big pay packets with flights and accommodation thrown in, but also tales of some that make big promises and don’t deliver.
Actors who have performed in vertical dramas have said they offer little scope for character development, nuance and a chance to highlight talent. This has led to debates within the acting community about the artistic value of the work and its potentially negative impact on an actor’s reputation.
It may not be a fair reflection of every film or show in the genre, but there is a risk of damaging your reputation and casting opportunities if you become associated with the lower end of the genre.
In China, especially, consumers seem content with formulaic Mills & Boon-style stories that are unlikely to take off with a UK audience. Those wanting to follow this emerging format are advised to look west to the US, where there is more appetite among filmmakers for quality over quantity.
The Future of Vertical Content
Vertical filmmaking has the potential to become a respected part of the entertainment landscape. Continued development in mobile technology, coupled with changing viewer habits, could see the format enhance its reputation among viewers, filmmakers and performers in the coming years.
While it currently faces criticism for a perceived lack of quality, growing popularity and financial success could lead to a significant shift in how content is created and consumed in the future.
For actors, this trend offers new avenues for work and exposure, albeit with some caveats regarding pay and artistic merit. As the industry matures, there is potential for higher-quality productions that could enhance the credibility and appeal of vertical films. Embracing this format may well become an essential step for actors navigating the evolving landscape of modern entertainment.
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