Kinema
Use cases Benefits Company
Pitch your series
Microdrama apps now hold Americans longer than Netflix: 35.7 minutes a day vs 24.8.[1] The audience grew 28× in two years. A third of them started watching this quarter.[2]

Write the series. Kinema shoots it.

No cast. No crew. No location.

One premise becomes a binge-ready season: characters that hold their face across sixty episodes, cliffhangers engineered scene by scene, rendered for the vertical feed and the widescreen alike. Just the story you’ve been carrying around.

Pitch your series
The brand is the plot.
35.7min daily microdrama watch time per user, Netflix: 24.8[1]
28× audience growth in two years; a third arrived this quarter[2]
Hollywood already moved

Fox took equity in a vertical-drama studio and committed to 200 titles. Peacock licenses microdramas. Disney put a short-drama app through its accelerator.[3] The format stopped being an experiment the day it started beating streamers for daily attention[1]. It even has a prime time now: Sunday, 8 to 10 p.m.[4] And its audience never asks who held the camera, only what happens in the next episode.

01 E40 the same face as in episode 1, costume, scar and kitchen included

Sixty episodes. One face. Zero continuity errors.

Serial fiction lives or dies on continuity: the heroine’s face in episode 40, the villain’s scar, the kitchen where it all started. Kinema is built around a structured screenplay where characters, places and objects are entities with memory, not prompts you retype and pray over.

The dramaturgy is engineered, not accidental: every episode opens on a hook and closes on a cliff, every scene knows its place in the arc. And you direct it all at the script level (recast a character, darken a motive, move the reveal two episodes later) before a single frame renders.

A vertical drama shoot: a 30-person crew, 8–10 shooting days. Yours: zero of both.[10] Cast your first character
Five genres, one production line.

What used to take a studio now takes a storyteller.

A vertical season used to cost $150,000–300,000 and a production calendar measured in months. AI collapsed that math roughly tenfold, and collapsed the timeline from eight-to-ten shooting days to one or two working days per episode for a solo creator.[5]

Kinema turns that arithmetic into a workflow: morning, the season arc; afternoon, directing the screenplays where your judgment matters; evening, renders running without you. The format library carries the serial craft with you (duanju structure, anthology series, narrated micro-drama) so season two doesn’t start from a blank page.

A 10-episode season in 1–2 working days. Build your season arc
02 10× cheaper than a $150–300K vertical season[5]
03 44% of microdrama viewers watch on YouTube[6]

Written once. Watched everywhere.

The single biggest destination for microdrama is YouTube, not a paywalled app: 44% of viewers watch there, with TikTok right behind.[6] Your distribution is free and already waiting.

From the same screenplay, Kinema renders the vertical 9:16 season for Shorts and drama apps, and a few clicks later the widescreen 16:9 cut for YouTube: episodes or a bingeable season compilation. Two screens, two audiences, one production. The dedicated drama pipelines don’t do this. Your screenplay does.

9:16 and 16:9 from one screenplay, a few clicks apart. Render both screens
One product. Twelve worlds.
04 30% of the audience is now male, from 1% two years ago[7]

Romance is taken. Everything else is up for grabs.

The audience is being redrawn in real time: male viewers went from a rounding error to 30% in two years, the 22–27 age group nearly tripled its share, and the newcomers lean sci-fi, fantasy and thrillers, arriving through YouTube more than anyone else.[7] The studios are busy feeding the romance machine; the genres the new audience wants are standing empty.

And this is where an infinite budget matters most: fiction. Space stations, medieval courts, drowned cities: worlds no indie production could ever scout, cast or light. If you can write the world, Kinema can shoot it. In any language, too. Europe’s stories in Europe’s tongues are terrain nobody has claimed yet.[8]

New viewers, new genres, no incumbents. Claim your genre
Meet your crew

Behind every episode works a full production crew of AI agents: researcher, screenwriter, creative director, cinematographer, editor, composer, voice artist. The biggest channels run 50-plus person teams; yours runs on agents.[11] They argue over your script so you don’t have to. You’re not buying a tool. You’re hiring a studio that works only for you.

Researcher Screenwriter Creative director Cinematographer Editor Composer Voice artist

A third of this audience arrived last quarter. They’re choosing what to follow right now.[2]

The studios ship a hundred AI series a month[9]. But loyalties in a new medium go to whoever’s story gets there first. Yours is one sentence away.

Pitch your series

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Sources
  1. Omdia / Sensor Tower, Q4 2025 US mobile: ReelShort 35.7 minutes of daily viewing per user vs Netflix 24.8 (Prime Video 26.9, Disney+ 23.0).
  2. Holywater / Owl & Co, State of Microdrama, 2026: microdrama viewing grew 28× in two years; 65% of viewers have watched for less than a year, 31% started within three months.
  3. Trade press (TheWrap, Business Insider, Forbes), 2025–2026: Fox took equity in Holywater and committed to 200 vertical titles; Peacock licenses ReelShort; DramaBox joined Disney’s accelerator.
  4. Holywater / Owl & Co, 2026: viewing peaks Sunday, 8–10 p.m.
  5. Industry reporting (OutlierKit and others), 2026: AI cuts a vertical series budget from $150–300K by roughly tenfold, and production from 8–10 days to 1–2 days per episode for a solo creator.
  6. Ampere Analysis, 2025: 44% of microdrama viewers watch on YouTube, 38% on TikTok.
  7. Holywater / Owl & Co, 2026: male share rose from 1.1% in Q2 2024 to 30.3%; viewers aged 22–27 nearly tripled their share; men lean sci-fi and fantasy at 1.4× the average and arrive via YouTube 1.5× more often.
  8. Ampere Analysis, 2025: European audiences watch microdrama below the global average.
  9. TheWrap, 2025: Holywater (MyMuse) targets 100 AI-generated series a month.
  10. Trade reporting on vertical drama production: a typical crew of around 30 people and 8–10 shooting days per series.
  11. Public trade reporting: the largest YouTube channels employ teams of 50+ people, the top end above 250.