Why are ads turning vertical?

Take a closer look at the movie songs being produced in the last few years and you will notice a pattern. The visual rules of the game have changed. The centre of the frame is where the money lies. Compositional nuances and peripheral set pieces have been discarded to the periphery. 

This dramatic shift is being influenced largely by the ubiquity of mobile devices. Notably, even in traditionally horizontal forms like movies, visual compositions are adjusted to fit the mobile experience. The choreography in many film songs is now designed with the centre of the screen in mind, tailored to vertical viewing on platforms like Instagram, TikTok, and YouTube Shorts. With phones being our primary mode of consumption, directors are aligning actors, dance sequences, and set elements towards the middle of the frame, ensuring that audiences catch the full impact of the scene even when viewed vertically. 

“It used to be all about the expansive wide shot,” explains Cyrus Pagdiwala, Co-Founder, Corcoise Films. “Now, everything gravitates towards the centre, creating a focal point that translates well on smaller screens.”

Consider the choreography of some of the most popular Farah Khan songs–think Main Hoon Na, Om Shanti Om, and Dil Se.., or that of iconic YRF musicals such as Mohabbatein or Dil Toh Pagal Hai. The richness of the frame ensured that whichever part of the frame your eyes gravitated to, you would encounter a novel finer detail that cohesively fits into the entire song’s essence. And to shift attention organically towards the protagonists, directors would employ creative visuals techniques such as leading lines, rule of thirds, contrast, and composition.   

Compare that to the songs being produced now, the focus has shifted dramatically to the centre of the frame with little to no regard to the periphery–to ensure that even if cropped, the song would serve the algorithm well and enhance scrollability. The extras are often dimly lit or dressed in pale colours to render them inconsequential and ensure that all attention is focused on the lead performer at all times. 

Ads, too, are increasingly following this vertical, mobile-first approach. Platforms like Instagram Reels and TikTok encourage–if not demand–a 9:16 format, leading brands to shift their storytelling methods to accommodate this slim, elongated frame. For advertisers, the challenge is not just technical; it’s about rethinking the entire storytelling process. “Creating ads in a vertical format is more like trying to paint a mural on a bookmark,” notes Chandra Manii, Founder, Useful Garbage Creations. “With this skinny little frame, suddenly every inch is prime real estate.” Advertisers are now compelled to fit visually compelling stories within the frame’s tight constraints, capturing the viewer’s attention in seconds while embracing the centre-focused aesthetic that resonates with today’s mobile audiences.

As Madhurya 'Maddy' Alankaar, Director at Little Lamb Films, puts it, “Reels, with their unapologetic 9:16 swagger, are taking over. Everything’s shrinking—screens, attention spans, film lengths—and budgets and timelines are squeezing right along. Welcome to the vertical revolution.”

This ‘vertical takeover’ of both movies and ads marks a new chapter in visual storytelling, one that is more focused, condensed, and centred–literally. The evolution of ads is not just a response to changing viewing habits; it’s a transformation in the language of media itself. It is not merely a technical adjustment; it’s a radical overhaul that has spawned the ‘verticalization’ of ads.

Today’s consumers have an almost intuitive relationship with their devices, viewing everything from movie trailers to product promotions on mobile. “Instagram Reels has not flipped the ad game upside down,” Manii admits, “but it’s definitely stirred things up. It’s less selling, more sharing–and it’s surprisingly refreshing.”

For many brands, the primary deliverable is no longer the horizontal 16:9 ad film; it’s a vertical Reel crafted to grab attention in a scrolling feed. Maddy’s recent experiences illustrate this shift: “My last six films—Coca-Cola product launch, festive spots for Dell Technologies, and a brand narrative for Tata Group—were all in glorious 9:16. And no, we didn’t just crop a 16:9 frame and call it a day. We went all-in: rotated cameras, flipped monitors, and watched our DOPs wince as we gleefully tossed traditional framing out the window.”

“There’s also a simplification in movement and action. Rather than wide, sweeping shots or complex choreography that would feel cramped on a phone screen, brands are opting for more straightforward visuals. This often includes close-ups, centred angles, and streamlined motion to create a smooth, immersive experience that feels natural on mobile. It’s all about grabbing attention quickly, making the message instantly digestible, and making sure it’s as effective on a small screen as it is on a large one,” observes Purusharth 'Jaunty' Budhiraja, Business Head, SW Studios. 

This shift to mobile-first, vertical storytelling might seem subtle at first, but its impact is seismic. Directors, set designers, cinematographers, and editors are now tasked with creating stories that fit within the vertical, 9:16 format that is standard on social platforms. “Holding a camera vertically was practically unheard of back in the day,” says Jaunty, “And now? It’s kind of in the job description.” The verticalization of ads, then, is not just a trend but a reshaping of creative priorities, technical challenges, and storytelling strategies. But what exactly does this mean for the future of advertising?

Adapting storytelling for 9:16 screens

The very nature of ad storytelling has morphed to fit the vertical screen. Unlike traditional ads that have the luxury of expansive landscapes or wide shots, vertical ads centre on delivering maximum impact within a restricted frame. As Pagdiwala points out, “Ads need to be short, keeping the attention span in mind, yet clutter-breaking if it needs to be seen amid an enormous amount of content thrown at viewers each minute.”

Indeed, social-first ad formats like Instagram Reels and TikTok force brands to get straight to the point. Manii draws a compelling parallel: “With everything stacked into a 9:16 frame, ads are now hyper-focused on the centre, sidelining those lovely peripheral details that used to add richness.” This ‘centre-first’ approach means that each second and every pixel in the frame must serve a purpose. “Brands now have just seconds to hook us,” he explains, “so they’ve ditched the long-winded pitches for punchy, relatable stories that feel authentic.”

Jaunty elaborates, “Reels allow brands to experiment quickly, test new ideas, and react in real-time to trends.” This creative agility is crucial, given that trends on these platforms evolve at lightning speed. With mobile audiences no longer willing to rotate their screens, advertisers must meet them halfway. 

Highlighting the issues in adapting to the vertical format, Jaunty adds, “Creating ads for vertical formats definitely brings unique challenges, and certain elements like set design, framing, and blocking have to adapt. For example, a wide, sprawling set might not read well in a narrow frame, so we often focus on creating depth in the shot, layering elements vertically rather than horizontally. Blocking also becomes more intentional, as we centre action to ensure it’s visually impactful within a tall, narrow frame.”

“Today, people won’t even rotate their phones to consume video,” says Kruthika Ravindran, Director at TheSmallBigIdea. “Hence, core message delivery is a sure bet by making movement and action simple, fitting well within the vertical frame.”

“With everything stacked into a 9:16 frame, ads are now hyper-focused on the centre, sidelining those lovely peripheral details that used to add richness. When brands lean into this vertical trend, things can get a bit... well, “slideshow-esque,” with visuals sometimes stripped down to basics. It’s all about tight alignment and product pop, which can make the whole thing feel less like a cinematic experience and more like a straight-to-the-point pitch. But here’s the twist: this challenge is sparking a new kind of creativity. Ad creators are finding clever ways to keep things punchy and dynamic within that narrow frame. “It’s a test of ingenuity and balancing focus with flair to make sure the content still feels fresh–even if it’s a bit more compact,” Manii encapsulates the situation. 

Maddy illustrates the problems with verticalization with an example from an iconic pop culture moment. “Imagine DDLJ’s “Ja Simran, ja” scene in vertical. Shah Rukh would be wedged into the side, Kajol would barely make it halfway to the train before catching it, and Amrish Puri would be close enough to call out, “Best of luck!” without moving. The struggle, the iconic run, the tension—it would all be squashed by the vertical squeeze,” he remarks. 

Centering the action

Just as directors have rethought the art of framing for a smaller, vertical canvas, they have had to reconsider how scenes unfold in that frame. The demands of the 9:16 screen require brands to abandon elaborate choreography in favour of straightforward, visually striking images. 

However, for some creatives, the transition can feel limiting. Pagdiwala illustrates the challenge: “If it’s horizontal, the distance between the camera and actors will be chosen such that the actors are frame-filling,” he notes, “but for vertical formats, the aesthetics change everything.” 

To compensate, brands have shifted their focus to close-ups and straightforward action that stays tightly within the frame. “It’s all about grabbing attention quickly, making the message instantly digestible,” Jaunty adds.

The constraints of vertical framing may seem to lead to a ‘simplification’ of ads, yet it’s this challenge that often leads to innovative solutions. “While vertical framing may feel limiting initially,” says Ravindran, “embracing it with an open mind opens up new ways to experiment. Ads have become visually ‘smarter’ rather than simpler.” This adaptability allows for both consistency across platforms and a focus on the immediacy that modern audiences crave.

Pagdiwala illustrates the problems that arise when a film is shot in a particular format and then modified to fit a particular medium. He explains with an example: 

“Imagine if I’ve to film a man and woman walking, talking, dancing in front of a beautiful landscape e.g. Ladakh. When a director and cameraman are framing this action, how should they frame this? If it's horizontal, the distance between the camera and actors will be chosen such that the actors are frame-filling, as well as their action is choreographed from left to right for the duration required that will fit into the ad. This will be perfected to capture ideal performance, expressions, timing and the landscape.

Now, from here, there are a few possibilities: 

• When you want to put the film on Instagram, or in a vertical format, you’ll use this 16:9 and extract 9:16. This will change everything. The magnification of the actors, the timing of the shot as the entry and exit are much shorter, the leg room and headspace which may be unnecessarily present and so on and so forth. This means the aesthetics are not ideal. However, this method is the most cost effective as it is extracted on an edit table. Directors and editors also cleverly choose sections of each shot that do the best job of communicating the story.

• Shoot the whole film twice. Once for 16:9 and once for 9:16. This causes a phenomenal upswing in budgets. What would’ve been shot in 2 days, will now require 3 or 4. It's extremely irritating for actors, directors and cameramen to keep re-framing and re-shooting.

• Shoot everything in the centre frame and slightly wider, with markings on the camera and monitor. This allows all action to be captured for both horizontal and vertical. But in this method, you’re framing shots not for their best aesthetics, but to be compliant for advertisers need to be on all platforms i.e. TV (16:9), Digital (9:16). This is now the norm or the most acceptable method. However, the director has to be restricted to not have entries and exits of characters, or rather even if that's the case, the actor cannot start dialogue while entering the frame. They start real performance after reaching a centre mark so that both 16:9 and 9:16 can actually make the best use of the shot. The background landscape is no longer vital or you may say, it’s a feature in the background and not critical to aesthetic sensibilities.”

Social-first production: A costly compromise or a creative opportunity?

The social-first approach to ad production–where content is shot primarily for vertical platforms and then adapted for traditional formats–is quickly becoming the industry standard. For many creatives, however, this dual-format requirement presents a unique dilemma. “To shoot in horizontal 16:9 and adapt for 9:16 or vice-versa is like making a painting on a horizontal canvas and then asking for it to be cut to fit a vertical section,” Pagdiwala asserts. It’s not just a matter of cropping; the shift impacts everything from timing to framing to emotional resonance.

Nevertheless, this transition is also fueling new types of creativity. “By creating ads primarily for vertical formats, we’re prioritising where most audiences actually engage,” says Jaunty. “This trend pushes us to explore fresh angles and storytelling methods.” Indeed, social-first ad production has a way of bringing out resourcefulness in creative teams, with directors, editors, and designers collaborating to make ads that resonate on the smaller screen. Pagdiwala highlights this challenge: “You’re framing shots not for their best aesthetics but to be compliant with the need for output across all platforms.”

Interestingly, the focus on the centre of the screen is leading to an entirely new approach to movement and action. “Directors pull back to get that ‘safe shot,’” Maddy explains, sometimes requiring additional takes and tighter shots to keep scenes in frame. This central alignment can result in simpler visuals, but as he points out, it’s also an opportunity to experiment with new techniques: “Brands are embracing new toys—bolt bots, ultra-wide lenses, unique rigs—to add punch to every pixel.”

Despite the complications, there's excitement about this evolving approach. As Ravindran notes, “With thoughtful planning and creativity, this format-first approach doesn’t have to sacrifice quality; it simply channels it in new, audience-driven ways.”

Sustaining creativity within constraints

As more brands embrace vertical formats, the question arises: Will this shift ultimately dilute the quality of ads? Industry experts seem divided. Some, like Pagdiwala, argue that a one-size-fits-all approach will inevitably result in compromises. “Any story well told in the most optimum time will attract viewers,” he notes. 

However, others see the shift as an opportunity to innovate and reach audiences more effectively. Ravindran emphasises the need for “constant adaptation to new formats and platforms,” while Manii suggests that the challenge of vertical ads “is sparking a new kind of creativity.” For those willing to experiment, the vertical screen offers a chance to strip down, simplify, and, ultimately, resonate on a deeper level.

Ravindran advocates for what she calls ‘smart simplicity’ in campaign design. By using concise messaging, dynamic editing, and engaging soundscapes, brands can craft ads that feel vibrant even within the bounds of a small vertical frame. Meanwhile, Pagdiwala envisions a future where different formats may require distinct, format-specific messaging to deliver a coherent brand experience across platforms. “There doesn’t seem to be a non-compromising solution for branded content to exist on all formats,” he acknowledges, hinting that the industry might ultimately shift towards a model where separate creative assets are developed for different platforms.

Maddy shares a few pointers that brands can keep in mind to navigate the challenge of verticalization: 

• One Idea, One Punch: There’s no room for complex narratives. Focus on one powerful emotion or crystal-clear message. Think less epic saga, more instant dopamine hit. Directors, agencies, and clients – it’s okay to kill some of those darlings.

• Build a Visual Signature: In this crowded feed, brands need an unmistakable look. Own the frame with signature transitions, colours, or camera moves that scream you before the logo even shows up. If they don’t know it’s your ad in two seconds, you’re just another swipe.

• Edit Like a Gen Z Influencer: Fast cuts, bold transitions, and edits that would feel hyperactive anywhere else are just right here. The energy should match the platform’s tempo, keeping viewers hooked from start to finish.

• Go for Authenticity: Reels are personality-packed, in-the-moment. Embrace influencer styles, direct-to-camera addresses, or 'behind-the-scenes' feels. Raw over-refined.

• Optimise for Mute Mode: Most viewers watch on silent, so visuals need to tell the story. Use text overlays, gestures, and expressive visuals that hit home even when the volume’s off.

• Ride the Trend Wave: Reels thrive on trends, so get in on the action. Popular challenges, trending sounds, and real-time cultural cues make your content relevant—and you don’t look like the out-of-touch brand trying to be hip (a tragedy).

In the end, the verticalization of ads may not be a limitation but a new frontier, encouraging brands to focus on the essentials. As Manii concludes, “It’s less selling, more sharing–and it’s surprisingly refreshing.” For an industry built on reinvention, the vertical revolution may just be the next leap forward, fitting snugly into our mobile-first world.

As Pagdiwala rightly notes, “Any story well told in the most optimum time will attract viewers.” The shift to vertical formats has provided brands with a fresh canvas—a tall, slender canvas, yes, but one that continues to demand and inspire creativity. The challenge for the industry is to keep experimenting, finding balance within the vertical frame, and crafting content that speaks to audiences on an intimate, immediate level. Because as much as technology changes, the desire for authentic, well-crafted stories is here to stay.