Jon Stojan
Vertical shorts, also known as micro dramas, have become a global phenomenon, redefining entertainment consumption in the digital age. In China, micro dramas evolved into a billion- dollar industry during the pandemic, and now, the trend is gaining traction in the U.S.
Today, we speak with Chao Han , a China-born lead editor at Reelshort , one of the biggest platforms for micro dramas. We’ll explore his insights on this emerging format and what makes him stand out in the industry.
But first, let’s introduce Chao Han . With over a decade of experience in commercial and narrative filmmaking, Chao has worked as a producer, director, and editor. Now, he has chosen to focus on editing, recognizing the vast opportunities within the micro drama industry.
Image credit: Chao Han
Q: You’ve held multiple positions in both commercial and narrative filmmaking. What drew you to micro dramas as an editor?
A: My goal has always been consistent—I wanted to be a filmmaker since I was young. But filmmaking is a tough industry, and at first, I didn’t feel qualified to take on such a big challenge. So, I decided to learn by doing, taking on different roles and working hands-on rather than just learning in school. Over the years, I gained a full-picture understanding of filmmaking—from producing, where I learned how to manage entire productions, to storytelling and communication with different departments .
Some people might wonder why, after being a producer and director, I “downgraded” to editing. But I believe that’s a misconception. Editing is just as crucial as directing and producing. Think of filmmaking like running a restaurant—the producer is the manager , making sure everything runs smoothly. The director is like the head chef, designing themenu and deciding what kind of dishes to create. Editors are the cooks , receiving all the ingredients and turning theminto a beautifully plated meal. A restaurant can’t succeed without a great chef, and a film can’t thrive without a great editor.
Micro dramas, in particular, give editors a lot of creative power. Unlike traditional entertainment, editors here have a say in storytelling—if something doesn’t work, we can recut the narrative or even reshape the characters . Take the show Infatuated with the CEO , for example . The story follows a CEO who likes his employee and constantly creates opportunities to be around her. But in the script, the female lead’s emotions weren’t clearly defined. It was unclear whether she reciprocated his feelings. So, while editing, I added subtle eye contact moments to show that she liked him but struggled with her emotions . Small editorial choices like these can make a huge difference in shaping a story, and that’s why I love editing micro dramas .
Image credit: Chao Han
Q: Micro dramas are a relatively new format in the U.S. What do you think about their potential?
A: Micro dramas may be new to the U.S. , but they’ve been around in China for a while . When I was studying filmmaking in the U.S., I frequently heard about trending micro drama series back home . Unlike TV or cinema, micro dramas only require a phone to watch, making them faster and cheaper to produce. Of course, some have lower production quality, but because they are made so quickly, the format evolves rapidly. Every failure or mistake is an opportunity to improve the next show.
The industry’s growth speaks for itself. In China, by the end of 2024, the micro drama market reached 50.44 billion yuan ($6.91 billion)—a 34.9% year-over-year growth , surpassing the film industry’s annual box office revenue for the first time, according to Tencent News .
Internationally, the top 10 micro drama apps generated over $1.7 billion in revenue in 2024, according to research firm AppFigures. This kind of growth fuels more investment and motivates production teams to create higher-quality content. As demand increases, I believe we’ll see more well-produced, high-quality micro dramas in the near future .
Image credit: Chao Han
Q: Can you recommend some of the micro dramas you’ve edited?
A: One of the most successful micro dramas I worked on was Breaking the Ice . It garnered over 270 million views , which, in terms of box office comparisons, is an incredible achievement relative to its production cost. The show has all the elements that make a great micro drama — high stakes, attractive leads, hidden identities, and an engaging premise .
The story follows Easton Black , a hockey player on a scholarship, and Caroline , who is secretly pregnant with his child. When Easton’s mother pressures Caroline to terminate the pregnancy, it creates serious conflicts . The audience knows how the story will end—Easton will eventually realize the baby is his, and they will reunite—but that doesn’t stop them from wanting to watch every moment unfold. This is what makes a great show: the journey, not just the ending. Even when we know what’s coming, we want to seeand feel the emotions play out.
This applies to all storytelling. When people talk about Avengers: Endgame , the moment they remember is Iron Man snapping his fingers and saying, “I am Iron Man” . Even though we know the scene by heart, we still watch it overand over because of the emotion it carries . Micro dramas work the same way—great moments keep audiences engaged.
Another project I’m proud of is Infatuated with the CEO. The entire show was shot on an iPhone , yet it amassed 20 million views. I saw many YouTube comments praising the editing and the chemistry between the actors . Unlike Breaking the Ice , which has multiple dramatic elements, Infatuated with the CEO is a pure romance drama that focuses entirely on the two leads. The goal was to highlight the subtle emotions between them—the tension, the hesitation, and the quiet moments of longing. The entire show feels like the beginning of a love story— sweet, uncertain, and mysterious .
As an editor, I spent a lot of time understanding the characters’ emotions, making sure every edit enhanced their chemistry. In the end, I was really satisfied with the result, and I’m glad the audience appreciated it, too .
Conclusion
Micro dramas are shaping the future of digital entertainment, and editors like Chao Han are at the forefront of this evolution. With his deep understanding of storytelling, attention to emotional detail, and technical expertise , he continues to push the boundaries of what’s possible in this rapidly growing industry. As the demand for vertical shorts expands in the U.S. , filmmakers like Chao Han will undoubtedly play a crucial role in defining the future of this format.