Microdramas rewrite the script for India’s entertainment workforce

While costs per show are almost one-fifth of an OTT series, these productions mean more work for both newcomers and existing talent.

Experts emphasize that microdramas are a democratising force. They break down barriers to entry, give newcomers steady roles, and keep the existing talent pool active through faster, more dynamic cycles. For some, it’s a creative gym where artists and technicians sharpen skills under tight constraints. For others, it’s the perfect bridge between traditional film, OTT, and digital work. Either way, the category is expanding the talent base while powering the next wave of actors, writers, and filmmakers.

Mini studios, big output

The new stream of opportunities comes at a time when video streaming platforms are green-lighting fewer long-format web shows and producers aren’t taking as many theatrical movies to the floors, fearing unpredictable box office. This means a new lease of life for much of the talent.

“Production houses and platforms now treat microdramas like mini-studios, rolling out dozens or even hundreds of titles a year. That boom is opening doors for writers who know how to nail short-form storytelling, actors building visibility through high-volume roles, and directors and DOPs (directors of photography) experimenting with tight, fast-hitting narratives,” said Samudra Sengupta, creative director (films and content) at Communique.

The digital team at Communique has created a seven-episode microdrama series Party of Two for Instagram.

On an average, a microdrama comprises 30–100 episodes which together equal a 180–200-minute movie, said Anuj Gosalia, founder and CEO, Terribly Tiny Tales.

That ensures at least 50–70 people are required on set versus 100–150 for a show. “It has created opportunities for many waiting on the sidelines and not able to break into the industry,” Gosalia added.

Adityoa Suranna, a casting director who has worked on four microdramas for an app called Pocket TV, is witness to the boom, and said opportunities have increased not just for him but the faces he needs for projects.

“Even though units are smaller, there is a lot more work happening. There is a huge requirement for everyone, be it actors, directors or crew members. One can see many new faces also come in,” Suranna added.

Industry experts say while microdramas don’t carry the budgets of films or OTT shows, the time-to-money ratio is hard to beat. A project can go from idea to release in just a week or two, versus months for an OTT episode or a feature film. For actors and crew, it feels almost like a creative freelance gig with short commitments, quick paychecks, and the freedom to stack multiple projects in the same window.

25,000+ new roles

Azim Lalani, co-founder and chief business officer, Bullet, a content and tech startup said the industry-wide expansion has generated an estimated 25,000 plus new positions across production houses, with companies increasingly dedicating considerable percentage of their content budgets to microdrama formats.

“The microdrama ecosystem has created a dynamic dual-participation model. At an industry level, approximately 60-70% of microdrama professionals simultaneously work on traditional OTT shows and films, leveraging the flexible production schedules,” Lalani said.

To be sure, microdramas are proving to be a powerful catalyst for broadening the entertainment industry’s talent pool.

Opportunity flow

Anshita Kulshrestha, founder, TukTuki Entertainments, a micro-drama mobile entertainment company said for the existing talent pool, microdramas offer a flexible format to experiment, stay active between larger projects, and diversify their creative portfolios. For new entrants, especially from regional and non-metro backgrounds, the format lowers traditional barriers to entry, enabling them to showcase their skills, gain visibility, and build careers.

“In terms of opportunities the entertainment industry is busier than ever. Today OTT platforms, film studios, microdrama companies, creative studios or anyone in the entertainment industry are all scouring for resources. Microdrama companies today have opened up opportunities for TV or theatre actors, independent writers, directors and more to have a steady stream of good quality work,” agreed Saurabh Pandey, CEO and founder, Story TV, a microdrama app.

Many of the professionals working on microdramas also have experience in films and OTT shows, but the category is expanding the talent pool rather than competing with it, according to Sanidhya Narain, CEO and co-founder of Dashverse, an AI entertainment company.

What AI does is open doors for new kinds of contributors — people who may not have had access to big-budget productions can now apply their creativity in this format. A writer can jump into microdramas without waiting for a green light from a platform or a production house. A cameraman can re-skill as a creative technologist. So, the category is pulling in fresh talent, while also giving existing professionals new ways to work and earn, Narain said.