 
Hello Sunday Wrap readers, As the microdrama business booms, Tess Patton discovers cast and crew crammed into tight quarters, cranking out episodes three times faster than your typical sitcom. There’s no budget for luxury trailers — or time for endless reshoots. “Everyone’s together here,” Gleb Savchenko, of “Dancing With the Stars” fame, tells Patton on the set of one vertical series. “Everyone’s doing the thing.” Come along with Patton into the world of microdramas, an $11 billion industry that’s redefining a production model built on efficiency and with an understanding of how content is consumed today. If you like the kinds of stories we send you every Sunday, please consider signing up. We're offering a 2-week trial of WrapPRO for $1. If you’ve been wanting to check out our full coverage, now’s the time. Michael Calderone As vertical series productions ramp up, casting directors say demand is outpacing the supply of willing and available actors By Tess Patton 
A Hollywood office space once used for Netflix productions now houses several microdramas shoots a week. Inside, there are familiar markers of a traditional set — craft services tucked around the corner, multiple shooting locations spread across the lobby and upstairs — but the hierarchy looks different. As opposed to a traditional Hollywood set, there are no luxury trailers for the stars, no furnished dressing rooms or green rooms for the production company’s execs. Each member of the crew, from production assistant to top-billed star, receives the same treatment. And things move fast — some actors shoot all their scenes in a single day. This is how microdramas are made. 
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