Praveen Verma, who has been a passionate casting director, known for his diverse casts for films, TV and theatre, is presently garnering good work in the vertical medium for his expertise in casting. From TV shows like Aghori, Vasudha, Ishq Subhan Allah to the web series Hunter, Cyber Squad etc, and the film Bal Naren, Praveen has done qualitative work in all mediums of the industry. His company, Cartel of Casting, prioritises good work, and he explains how.
Praveen in an exclusive talk, addresses the boom of the vertical market and how it has given rise of new fortunes for actors, creatives, technicians and more.
On the boom in the vertical market, he says, “The vertical medium has been one of the most disruptive and exciting shifts we’ve seen in recent years. With mobile-first consumption becoming the norm, vertical storytelling has created a fast, accessible format that connects instantly with audiences. The boom has been organic—driven by short attention spans, social media habits, and platforms that are hungry for fresh, high-volume content. What’s interesting is that vertical content is no longer seen as “secondary” or “lesser”; it has become a legitimate medium with its own grammar, storytelling style, and loyal viewership.”
On the medium opening a brand new avenue for actors, technicians, creatives, etc., Praveen states, “This medium has democratized opportunities. Actors who may have waited years for a TV break are now getting lead roles, visibility, and audience recall through vertical shows. Creatives—writers, directors, DOPs, editors—are experimenting more freely because the format allows quicker turnaround and lower entry barriers. For casting, it has expanded the talent pool massively. We are discovering fresh faces, strong performers, and even theatre-trained or digital creators who may not have fit in traditional TV casting brackets earlier but are extremely effective on screen.”
However, this new trend of vertical content has given rise to an abundance of concepts being shot. But a noted glitch coming across is that not all projects have a well-executed backing and good production value. Talking about this, he says, “That’s a real challenge in the current boom phase. Quantity is high, but quality varies. Personally, I choose projects based on three clear parameters:
• Script & Character Depth: Even in a short format, the writing must respect the actor and the audience.
• Intent of the Platform/Producer: Whether they are looking for quick content or building a long-term brand.
• Professional Ecosystem: A disciplined set, clear vision, and respect for talent matter more than budget alone.
Good production value is not just about money—it’s about clarity, planning, and creative honesty. I prefer associating with projects that understand this balance.”
On his company’s goals ahead, he says, “My goal is to help shape vertical content into a credible and respected space, not just a stepping stone. I want to consistently introduce strong, trained performers and help creators cast beyond stereotypes. Long-term, I aim to bridge vertical content with mainstream OTT, TV, and films—so that talent discovered here seamlessly transitions into larger formats. Most importantly, I want to maintain quality and integrity in casting, regardless of the medium.”
