In the landscape of modern media, the most significant “screen” in our lives is no longer the television in the living room—it is the one in our palms. This shift has paved the way for “vertical dramas,” a burgeoning entertainment sector that has transitioned from a niche Chinese trend to a global powerhouse projected to reach an $11 billion valuation in the next few years.
Vertical dramas—high-intensity, binge-worthy episodes lasting just 60 to 120 seconds—are meticulously crafted for the 9:16 aspect ratio. Platforms like ReelShort and DramaBox are leading the charge, recording massive engagement and, in some cases, monthly revenues exceeding $10 million. It is a format that demands immediate emotional stakes, turning the idle moments of a daily commute or a coffee break into highly profitable storytelling experiences.
Linwei Hu, an acclaimed Director of Photography and rising figure in cinematic production, believes this shift is far from a fleeting trend. “I think vertical dramas have a very strong future, because people are already deeply attached to their phones,” says Hu. “It matches the way people consume media today. I do not think vertical dramas are just a passing trend—I see them as a format with real long-term potential.”
Hu, who holds a Master of Fine Arts from Chapman University and has worked on internationally recognized projects like “Vicious,” a ReelShort production, and “Ballerina Reborn for Revenge,” a Dramabox production, emphasizes that as the industry matures, the quality of these micro-series is only set to rise. “As audiences continue to watch more content on their phones, vertical storytelling will only become more relevant, and I believe the creative and production standards will keep growing as well,” he adds.
The numbers certainly support his outlook. While the January 2024 global market stood at approximately $122 million, the trajectory toward $11 billion in just over a year signals a seismic change in consumer habits. The demographic driving this growth is primarily female, aged 35 to 64, who are demonstrating a high willingness to pay—often spending $10 to $80 monthly—to unlock the next “cliffhanger” episode.
The production of these series is a masterclass in efficiency, with 20- to 100-episode arcs often filmed in under two weeks. Yet, as experts like Hu suggest, this speed does not preclude artistic merit. By blending the high-stakes narrative pacing of classic soap operas with modern, mobile-first cinematography, creators are building a durable new category in the entertainment industry. For the next generation of filmmakers, the vertical screen is no longer a constraint; it is the new frontier. As an expert in the field, Hu talks about the future of vertical dramas, his experience with them and working with ReelShort.
Who are your favorite cinematographers of all time? Which one inspired you to get into filmmaking?
Linwei Hu: Roger Deakins is my favorite cinematographer of all time. His work on Blade Runner 2049 had a huge impact on me and really sparked my interest in narrative filmmaking. The way he uses light, color, composition, and atmosphere to support emotion and storytelling showed me that cinematography is not just about making images look beautiful—it is about creating a world and guiding the audience through the story. Watching his work made me want to pursue filmmaking more seriously.
How did you get into the vertical shorts world as a DP?
My entry into the vertical shorts space happened quite naturally. I was initially introduced to it through friends, and I saw that many filmmakers around me were already actively involved in this. As I learned more about the industry, I began to see its strong creative and commercial potential. With more invitations and projects coming my way, I gradually established myself as a DP in vertical storytelling.
What is the future of vertical dramas, in your opinion? We are spending more time on our phones every year, statistically speaking.
I think vertical dramas have a very strong future, because people are already deeply attached to their phones. Mobile viewing has become a huge part of everyday life, so in that sense, the existence of vertical narrative content feels very natural and reasonable. It matches the way people consume media today. I do not think vertical dramas are just a passing trend — I see them as a format with real long-term potential. As audiences continue to watch more content on their phones, vertical storytelling will only become more relevant, and I believe the creative and production standards will keep growing as well.
When did you join ReelShort and how many productions have you worked on there?
I’m not an in-house employee at ReelShort, but I do collaborate with them on their in-house projects as a DP. So far, I’ve worked on three productions with them. One of them, Vicious, is already out and has reached about 40 million views. Right now, I’m also scheduled for six more projects with them through September 2026, so I’m really looking forward to seeing what else we can create together. What’s exciting is that some of these projects are already pushing the scale of vertical production. For example, on a recent one, we even used a picture car trailer, which is pretty uncommon for verticals.
Shooting vertically cuts out the background, how do you master this in composition?
To me, the biggest mistake is treating vertical cinematography as if it were just cropped horizontal filmmaking. I approach it differently. I place much more emphasis on the character as the visual center of the frame, and I collaborate closely with hair, makeup, and costume to ensure the subject feels attractive, expressive, and visually defined. Compositionally, vertical framing opens up a different kind of visual design — especially in the relationship between upper and lower space — and I try to use that to create stronger focus and more dynamic images.
You have worked on a popular ReelShort series called “Vicious,” a vertical drama romance (TV Mini Series 2026). What makes this series so popular? It reached 30 million views.
Although it has only been released two weeks ago, Vicious has already reached close to 40 million views. I think that comes from both the uniqueness of the story and the strength of the visual execution. The project has a strong emotional hook that immediately captures the audience’s attention, but I also believe the visual result played a big part in its success. Through strong collaboration between my department and the other creative teams, we were able to create a look that felt striking and engaging. I think that combination of story and visual impact is what made the series connect so strongly with viewers.
How have you seen the vertical drama industry support a whole young generation of Gen Z actors?
I think vertical drama has provided a lot of opportunities for Gen Z actors. Because the industry is moving so quickly and producing so much content, many young actors are getting chances that might have been harder to find in more traditional formats. It gives them a platform to practice, improve, and connect with audiences early in their careers. From what I’ve seen, it’s becoming a very important space for discovering and supporting young talent.
How did you make sure your work captures the vertical drama director’s vision?
The key is communication, especially because vertical drama is a mobile-first format. From pre-production onward, I have to think about how the image will function on a phone screen, which affects decisions about framing, color, contrast, and brightness. To make sure my work reflects the director’s vision, I discuss these choices with the director as early as possible. When a director is already experienced in vertical storytelling, that alignment can happen quite quickly. But when they are less familiar with the format, I find it important to help guide the conversation in a more detailed way. For me, capturing the director’s vision comes from both strong preparation before shooting and continuous communication during production.
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