03 / SOCIAL & VERTICAL CONTENT
Give the feed a story, not just a cutdown.
A short film has little time to earn attention. We build for the moment and channel where it will be seen: a clear opening, a reason to stay, and an ending that does the work the brief needs.
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THE APPROACH
Made for the viewing situation
A social film is not automatically a horizontal film cropped into a phone. We decide what the viewer can understand without sound, how captions and framing carry the idea, and whether the message needs one standalone story or a format that can return. Production, performance and edit pace follow those choices.
Work that shows the range
Red Ink conceived, named, researched, wrote, cast and produced the four-part SPF Myth or Fact series. Short skits led to factual answers, each made to work in a social setting and through a demanding approval environment. Priority Seat shows what a single narrative film can do when its conflict is instantly recognisable: more than 18 million views across social platforms.
Exploring a Branded Vertical Series?
Some brands have more than one post to make. A connected series needs characters or a world that can develop, an episode arc and a reason to return next time. We are exploring a premium Branded Vertical Series approach for that kind of brief. The concept, episode length and count, live-action or animation method, and production rhythm would be built around the story and its audience.
RELEVANT WORK
See it in the work.
FEATURED WORKSPF Myth or Fact
Red Ink conceived and named a four-video series, then researched, wrote, cast and produced it for Singapore Police Force. Each short skit earns attention before the factual answer arrives. The team balanced SPF’s communication requirements with stories that felt relatable and entertaining.
FEATURED WORKPriority Seat
An ordinary bus ride became a sharply observed comedy about who deserves a priority seat. Red Ink wrote, directed and produced the StarHub film, which has drawn more than 18 million views across social platforms. The point was never to lecture commuters. It was to make them recognise the situation, follow the characters and talk about the choice.
RED INK ORIGINAL
I Accidentally Married Singapore’s Most Hated Billionaire
Created using AI production.
An episodic vertical fiction original. Its portrait framing and character-led scenes explore a format made to be watched on a phone, with a story that can carry into the next episode.
See it in the Work collection
Is vertical content simply a cropped horizontal film?
Usually no. The opening, framing, pacing and on-screen detail need to work in the native format where the viewer sees them.
What is a branded vertical series?
It is episodic short-form storytelling designed to give viewers a reason to return for the next part, with a recurring idea, characters or narrative question.
Can AI be used for a vertical series?
AI-assisted production may suit some ideas. The creative approach, disclosure, approval needs and practical production method should be agreed for the specific project.
THE NEXT FRAME
Have a message worth getting right?
Share the brief while there is still room to make it better. We will look at the audience, the decision the film needs to help them make, and the practical constraints before recommending a route.
Start a project