As vertical cinema evolves from short-form experiments into full-length narratives, actor Anurag Vyas is among the few artists openly articulating what the format truly demands from those working behind the scenes. Contrary to the widespread belief that vertical content is simpler or scaled down, Vyas clarifies that the production ecosystem mirrors traditional cinema in scale, seriousness, and accountability.

“A vertical cinema set doesn’t look smaller,” he explains. “The locations are full-sized, the crew strength is real, and the responsibility on every department is exactly the same. Only the camera orientation is vertical.”

A typical vertical cinema production includes distinct teams for writing, direction, cinematography, production design, sound, and editing. However, unlike traditional cinema where departments often work in linear phases, vertical productions operate in parallel. Scripts are locked early, shot lists are finalized with extreme precision, and editors often begin assembling footage while shooting is still in progress. This leaves virtually no scope for reshoots or narrative restructuring.

“There is no ‘we’ll fix it later.’

There is no ‘we’ll take one more day.’”

— Anurag Vyas

This approach fundamentally alters on-set discipline. Actors are required to arrive with complete clarity of character arcs, emotional progression, and scene continuity. Any delay whether due to hesitation, misinterpretation, or lack of preparedness — directly impacts budgets and platform delivery schedules.

Camera placement plays a defining role in shaping vertical cinema’s emotional language. Instead of wide landscapes or elaborate blocking, vertical framing prioritizes faces, body language, and psychological proximity. Shots are often tighter, with minimal lateral movement, allowing the audience to remain emotionally locked into the character’s inner world.

According to Vyas, this creates a distinct kind of visual emotion one that widescreen cinema cannot always offer. Vertical cinema brings viewers face-to-face with emotional truth. Micro-expressions, breath shifts, and eye movement become central narrative tools, making the viewing experience more immediate and immersive.

Production differences extend beyond visuals. Scene transitions are quicker, dialogues are denser, and pacing is relentless. The story does not pause for spectacle or extended silence. As a result, vertical cinema demands heightened concentration from both artists and technicians.

For Vyas, the format challenges an actor’s discipline rather than talent. “You’re not just performing scenes,” he says. “You’re protecting time, rhythm, and the producer’s investment.” In this compressed, high-stakes environment, vertical cinema proves that smaller screens do not mean smaller ambition only sharper execution.