Adaptation of Cinematographic Techniques for Mobile and Vertical Video Formats

Herasymiuk Heorhii

doi:10.37547/tajet/Volume07Issue08-21

The American Journal of Engineering and Technology

259

https://www.theamericanjournals.com/index.php/tajet

TYPE

Original Research

PAGE NO.

259-267

DOI

10.37547/tajet/Volume07Issue08-21

OPEN ACCESS

SUBMITED

25 July 2025

ACCEPTED

07 August 2025

PUBLISHED

21 August 2025

VOLUME

Vol.07 Issue 08 2025

CITATION

Herasymiuk Heorhii. (2025). Adaptation of Cinematographic Techniques for
Mobile and Vertical Video Formats. The American Journal of Engineering and
Technology, 7(8), 259

–

267. https://doi.org/10.37547/tajet/Volume07Issue08-

21

COPYRIGHT

© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.

Adaptation of
Cinematographic
Techniques for Mobile and
Vertical Video Formats

Herasymiuk Heorhii

Videographer Miami, USA

Abstract:

The article describes how, in the context of

the rapid growth of video consumption on mobile
devices and the dominance of portrait screen
orientation (9:16), classical cinematographic aspect
ratios and techniques must be reconsidered and
adapted. While traditional aspect ratios (4:3, 2.39:1)
reflected historical technological and aesthetic
constraints, the modern user experience dictates new
rules of composition, blocking, editing, and technical
implementation arising from the characteristics of
touch controls and continuous scrolling. The study aims
to identify and systematize the principles for applying
classical cinematographic techniques in the mobile
vertical format, to substantiate their effectiveness, and
to develop a new grammar of visual storytelling for the
narrow frame. The relevance of this work is driven by
the unprecedented growth in mobile video traffic and
changes in audience engagement models, which
demand scholarly reflection on the aesthetic and
technical transformations. Its novelty lies in the
comprehensive integration of historical-technical
analysis, ergonomic experiments, neurophysiological
measurements, and content-analytic data to build a
unified model of vertical video language. The
methodological foundation combines comparative
format analysis, ergonomic tests, a systematic review of
recommendations on composition and camera
movement, as well as empirical EEG-response studies
and statistical analysis of audience behavior on TikTok
and Reels. Results show that the central vertical axis of
the frame serves as the path of least resistance for gaze
and interaction; the rule of thirds transforms into
vertical dynamics; and the Z-axis and dolly-in/out
techniques become crucial for dramaturgy. Vertical
split-screen significantly increases retention;

The American Journal of Engineering and Technology

260

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

gyrostabilized POV reduces fatigue; light gradients and
pinpoint color accents guide attention from top to
bottom; and binaural and tactile sound expand

perception of the narrow frame. The study’s conclusions

establish the theoretical and practical basis of a new
cinematographic grammar for mobile vertical video:
each modality

—

composition, camera movement,

editing, lighting, color, sound, and interface effects

—

interacts to precisely direct attention within the 9:16
frame. This article will be particularly helpful to video
production specialists, mobile app UX designers, and
media aesthetics researchers.

Keywords:

adaptation; cinematographic techniques;

vertical format; mobile video; composition; editing;
stabilization; lighting; color; sound

Introduction

Over the past five years, the mobile screen has ceased
to be secondary and has become the primary media
carrier. According to Vidico, 75% of all video views now
occur on smartphones, which users hold vertically
almost all the time, rather than rotating them for a
horizontal frame [1]. The shift is also visible in everyday
media diets: the British TouchPoints-2025 survey
recorded that adults spend 3h 21min per day on their
phones

—

for the first time exceeding time spent

watching linear television (3 h 16 min)

—

and do so

evenly throughout the day, whereas TV viewing still
peaks in the evening [2].

Such a redistribution of attention is supported by
network infrastructure: Ericsson estimates that by the
end of 2024, video applications will have generated 111
exabytes of the 147 exabytes of monthly smartphone
traffic, i.e., over three-quarters of the total data volume,
with a six-year growth exceeding sevenfold [3]. In
practical terms, this means that the energy consumption
of mobile video streams alone over one month is

comparable to London’s five

-month needs, underlining

not only the cultural but also the infrastructural
significance of this format.

Against this backdrop, the evolution of cinematographic
aspect ratios takes on a new dimension. Early film stock
and the 4:3 television standard

—

formally codified as the

Academy ratio of 1.37:1 in 1932

—

provided visual

continuity with the theatrical projection window and the
technological limits of the first sound track [4]. In the
1950s, in response to the challenge posed by television,
studios transitioned to anamorphic CinemaScope. They

established the 2.39:1 wide frame, which remains one of
the standard screen ratios in digital cinema distribution.

However, the logic of the wider, the more cinematic no
longer applies in an environment dominated by portrait
device orientation. Snapchat was the first to
demonstrate this: as early as the mid-2010s, the
company reported that vertical advertisements were
watched to completion more often than horizontal
ones, provided users were not required to rotate their
screens [5].

With the advent of TikTok and short Reels, the vertical
frame ceased to be merely a cropped version of a film.
It became a new foundational 9:16 stock, dictating its
own rules of composition, blocking, and pacing, and
demanding scholarly reflection on the aesthetic and
technological changes at the intersection of mobile UX
and classical cinematography.

Materials and Methodology

This study is based on the analysis of 17 key sources,
including academic articles, industry reports, empirical
experiments, and user cases. The theoretical foundation
comprises

studies

of

consumer

habits

and

infrastructural trends. The Vidico report [1] and the
TouchPoints-2025 survey [2] revealed the dominance of
vertical viewing and the even distribution of mobile
consumption throughout the day. The DataReportal
report [3] confirmed the rapid growth of video-app
traffic. The historical-technical background of pre-
cinematographic aspect ratios was provided by SMPTE
standards [4], and practical conclusions on the
effectiveness of the vertical format were drawn from the
Snapchat case [5]. Compositional and ergonomic
aspects were drawn from classic methodologies by Perry
and Hourcade [6] and modern vertical framing
recommendations by Parisi [7], supplemented with
theoretical insights on split-screen engagement metrics
by Clayton [8] and Spyrou [9].

Methodologically, the research combines several
approaches. A comparative format analysis juxtaposed
classical cinematic aspect ratios (4:3, 2.39:1) with the
vertical 9:16, considering historical constraints and
current

user

preferences

[4,

5].

Ergonomic

experiments

—

conducted following Perry and Hourcade

[6] and Parisi [7]

—

demonstrated the path of least

resistance along the vertical screen axis and the
transformation of the rule of thirds in the vertical
format.

A

systematic

review

of

theoretical

The American Journal of Engineering and Technology

261

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

recommendations encompassed studies on the
influence of shooting angle on perceived trust
(Baranowski & Hecht [10]), the effects of various
camera-movement techniques (Yilmaz et al. [11]), and
the algorithmic aspects of video stabilization (Luchetti et
al. [13]).

Content and statistical analyses included: investigation

of duet and reaction videos’ impact on audience

retention in TikTok/Reels (Spyrou [9]); analysis of the
pocket-gimbal market

—

sales forecasts and CAGR

through 2033 (Archive Market Research [12]);
neurophysiological EEG measurements of principal
components in experiments by Huttunen [14] and
Mattavelli et al. [15] to assess emotional and cognitive
responses to lighting schemes; and quantitative analysis
of color accents in mobile feeds

—

click-through rates for

warm palettes (Sokolik et al. [16]) and the U-shaped
relationship between saturation and conversion (Wen et
al. [17]). The integration of these methods provided a
comprehensive picture of how the vertical format
reconfigures composition, camera movement, and
technical solutions in the mobile context.

Results and Discussion

Reorienting the frame from landscape to portrait has led
to a reassembly of the classical compositional grid.
Ergonomic studies of touch input show that, when
holding the device with one hand, users tap elements
located in the central band of the screen more quickly
and accurately. In contrast, objects at the top and
bottom edges require greater joint movement

—

this

reinforces the value of the longitudinal axis as a path of
least resistance for gaze and thumb interaction [6].

At the same time, the rule of thirds does not disappear;
instead, it transforms: instead of the familiar
displacement of the protagonist to the left or right
intersection point, attention is distributed along the
vertical axis. Creators of vertical videos recommend
placing the dominant object within the middle third of
the width, yet smoothly sliding it between the upper and

lower horizontal dividers to engage the eye’s natural

scroll movement and preserve interface symmetry [7].

The limited horizontal span necessitates a reevaluation
of spatial relationships within the frame: horizontal
mise-en-scène gives way to depth staging. The vertical
format more easily accommodates a full-length human
figure, enabling storytelling through movement toward
or away from the camera rather than lateral tracking

shots. Theorists of vertical cinema note that it is the Z-
axis, not the X-axis, that becomes the principal carrier of
dramaturgy: the foreground jumps interactively toward
the viewer, the midground sustains the action, and the
background provides context

—

forming a three-layer

column instead of a panoramic horizon [8].

The lack of width is compensated for by multi-level
editing. The most popular technique is the vertical split-

screen. TikTok’s and Reels’ algorithms rank duets and

reaction videos higher because the simultaneous
stimulation of two screen regions increases average

watch time by ≈ approximately 40% and boosts

information retention by up to 60%, thanks to
concurrent visual and auditory channels [9]. However,
cognitive experiments also record increased working-
memory load. With an excess of parallel tracks, users
reproduce the core message less accurately, demanding
a strict hierarchy of layers and a contrasting rhythm of
shot changes.

Thus, the central axis establishes a fulcrum for rapid
perception, depth becomes the primary tool for plot
construction, and the multi-level frame expands

perceived space without widening the screen’s

boundaries. These three principles operate in concert
and form the basis of a cinematographic grammar for
the vertical 9:16 format.

When the vertical format fixes the gaze on a narrow axis,
camera movement assumes the function of expanding
space and redistributing semantic emphasis. Vertical
pans and classic tilt-up/tilt-down movements prove
especially effective, as they scan the frame along the

same vector in which the viewer’s finger scrolls the feed.

Here, filmic language merges with gesture navigation: a

camera rising from the floor to the subject’s face shifts
attention from the interface’s comments zone to the

protagonist. At the same time, the reverse movement
prepares the viewer for the next swipe. Simultaneously,
the vertical angle functions as a semantic filter: an
experiment [10] demonstrated that even a 30° tilt of the
camera from above or below alters trust ratings for the
character; audiences ascribed maximum reliability to
eye-level shots, whereas a high angle statistically
reduced trust scores by 0.8 points on a nine-point scale,
as shown in Fig. 1. Thus, tilt-up

—

as a marker of status

elevation

—

and tilt-down

—

as a distancing effect

—

become formal antonyms within the same portrait
geometry.

The American Journal of Engineering and Technology

262

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

Fig. 1. Ratings for trust by camera angle and sex [10]

Depth movement along the Z-axis, which in horizontal
cinema was supported by complex multi-plane mise-en-
scène, is simplified in the vertical format to dolly-in and
dolly-out. When shooting on a smartphone, these
techniques visually draw the viewer closer to or farther
from the event, allowing one to experience approach
and withdrawal without lateral displacement. A
neurocinematographic study with 44 respondents
compared dolly, steadicam, handheld camera, and static
shots. Smooth forward movement yielded a median
immersion index higher than static shots, although
emotional valence remained unchanged [11]. For the
mobile viewer, this means that dolly-in can serve as a
universal emotional accent. By minimizing editing,

creators achieve significant engagement gains through
pure kinetics, along the same vertical tunnel that houses
the protagonist.

The third component of vertical cinematographic
grammar is gyrostabilized POV. The small amplitude of
micro-vibrations, barely perceptible on a cinema screen,
becomes visual noise on a six-inch display, increasing the
risk of acute fatigue and motion sickness. Consequently,
demand for pocket three-axis stabilizers is growing
faster than the mobile-video market itself; an industry
report estimates global sales of such devices at USD 1.5
billion in 2025, with a projected CAGR of 15% through
2033, as illustrated in Fig. 2 [12].

The American Journal of Engineering and Technology

263

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

Fig. 2. Smartphone Gimbal Stabilizers Market Size [12]

The stabilization effect is measured not only
commercially, but also in other ways. In a sample
subjected to the standard Simulator Sickness
Questionnaire, the subjective severity of symptoms
after viewing the same clips, but with offline trajectory
stabilization, was statistically lower than the baseline
level [13]. Thus, gyrostabilized POV simultaneously
enhances physiological comfort and preserves presence
through slight correction of hand-held camera motion,
making it the primary technical solution for mobile
narrative.

Together, vertical pans, depth-axis dolly passes, and
stabilized POV create a virtual volume in the narrow
frame: the first establishes a hierarchy along the Y-axis,
the second adds emotional rhythm along the Z-axis, and
the third holds the viewer within this structure without
kinetic noise. In subsequent sections, it will be shown
how light, color, and sound amplify this kinetic matrix,
turning the 9:16 constraint into a tool for precise
direction of attention.

In the vertical frame, light becomes not only an exposure
tool but also a compositional one: a gradient along the

Y-axis replaces missing width. A classic Rembrandt-style
technique

—

placing the key light high above the lens and

slightly to one side, with a fill light below

—

creates a

sliding vertical transition from a bright forehead to a
darker torso. Such a gradient structures the scene much
like the tilt-up discussed previously: the eye first reads
the upper headline details, then naturally descends to
the action while the background remains in mid-tone
and does not compete with the app interface. Portrait
photography has long demonstrated that an
asymmetrical diagonal of light in the upper quarter of
the frame renders the face both three-dimensional and
clickable, and requires only one lamp and reflector,
critical for on-the-move mobile shooting.

Neurophysiological data reinforce this technological
logic. In a pilot EEG experiment where faces were lit
from above, below, and in silhouette, underlighting that
slipped beneath the lower-panel icons

—

and complete

eye-region darkness

—

elicited a more negative early

posterior negativity than the classic 45° top key,
interpreted as a subconscious vigilance signal [14], as
illustrated in Fig. 3.

The American Journal of Engineering and Technology

264

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

Fig. 3. The mean signal amplitudes elicited by underlight and 45-degree light [14]

The graph shows a noticeable difference in the mean
negativity within both the 150

–

300 and 200

–

600 ms

after-stimulus intervals, although the latter did not
reach statistical significance. This suggests that lighting
that originates from below the face, distorting the facial
features, elicits a stronger early emotional response
than lighting that reveals the entire face.

In other words, an error in vertical-contrast distribution

is instantaneously reflected in the viewer’s emotional

baseline before the narrative even begins. A
psychophysical study [15] confirmed the practical
finding: with a central gaze model, trust indices
statistically decreased under a split-light condition (a
harsh horizontal shadow), whereas a moderate top-
down Rembrandt gradient increased perceptions of
trustworthiness and attractiveness, especially in
younger faces.

The vertical gradient also applies to color. In an endless
scroll, attention is captured by small spectral bursts

—

localized but not aggressive accents. A field sample of
1.5 million impressions showed that a warm red palette
in a narrow vertical box generated clicks significantly
more often than a cool blue one, confirming that a warm
hue shouts from a monotone feed [16]. A more recent
machine analysis of 2,984 short videos revealed a U-

shaped relationship: moderate or very high saturation
increased subsequent purchases, whereas mid-range
values were lost against neighboring clips [17]. Thus, for
the mobile-vertical format, the point-color rule applies:
a bright accent in one third of the screen amplifies the
dopaminergic hook in the first milliseconds, but
excessive colorfulness disintegrates into noise and
reduces retention.

Altogether, a top-to-bottom light gradient, calibrated

facial contrast, and measured color guide the viewer’s

gaze along the same path as the camera movement
described earlier: from above down to the focal point
and then toward the interface zone. This transforms the
9:16 limitation into a multi-layered channel of directed
sensory information, where lighting not only paints the

subject but also synchronizes the viewer’s physiological

rhythm with the edit pace of the clip.

Sound in vertical video functions as an invisible
extension of the frame, filling what is bounded by the
narrow screen. Spatial, binaural, recording creates the
illusion of volume: the viewer perceives footsteps
behind or a voice to the side, even though only a portrait
plane is visible. Through such acoustic completion, the
director is freed from constantly changing camera
angles, and the audience receives a convincing three-

The American Journal of Engineering and Technology

265

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

dimensional impression even with a static camera. The
smooth movement of the sound source around the head
directs the movement of attention, preparing the viewer
for the appearance of an object in the center of the
frame.

The vertical experience is amplified not only auditorily
but also somatically. Low frequencies, transmitted

through the speaker or via vibration of the phone’s

div, create a tactile background that underscores the
scale or emotional weight of a scene. A brief bass
impulse reinforces the close-up of the protagonist, while
prolonged sub-bass masks location changes by
smoothing abrupt edits. The user perceives a light
pulsing pressure in the palm, transforming the spectacle
into a kinesthetic event.

Editing in the mobile context relies on the speed of
perception. Retention is aided by a sharp hook: the
opening moments present the primary visual stimulus,
followed by a rapid sequence of short shots. The rhythm
is calibrated so that each shot delivers a fresh piece of
information but leaves no room for the viewer to skip to
the following clip. Whereas traditional editing revolved
around the complete thought of a scene, here it is
oriented toward micro-transitions that integrate into
the endless feed and synchronize with the scroll gesture.

Text elements adhere to the same principle of time
economy. Titles do not appear as separate cards but as
animated typography embedded in the trajectory of the
camera or finger movement. Letters grow from the
horizon line, assemble, and disappear at the moment
the visual emphasis shifts. Such living text does not
hijack attention for long nor obscure the face, yet it
registers in memory as part of the unified motion.

An additional layer of engagement is created by
augmented reality. Filters that respond to facial
expressions or gestures connect the narrative to the

viewer: a mask that mirrors one’s expression or an

interactive object caught by a swipe transform passive
viewing into a personal event. A similar effect is
achieved by the comic-panel composition, where the
main vertical frame remains fixed while auxiliary layers
scroll independently, revealing alternative angles or plot
details.

Together, spatial sound, tactile bass, accelerated
editing, kinetic typography, and the AR layer form a
synesthetic system in which each channel supports the

screen’s confined geometry. The light gradients

described earlier map the visual route from top to
bottom; audio markers and vibration anchor the stages
of this route; visual effects hold attention on key points.
Thus, the vertical frame becomes not a limitation but a
platform where all modalities work in concert to direct
the viewer to the center of the story.

Conclusion

The conducted study demonstrates that the shift to the
mobile vertical 9:16 video format has triggered a
comprehensive set of aesthetic and technical
transformations of classical cinematographic language.
Within the narrow frame, the central longitudinal axis
serves as the path of least resistance for gaze and
interface interaction, defining a new compositional
paradigm. Instead of the habitual horizontal distribution
of emphasis, we observe a vertical zone of interest in
which positioning the dominant object within the
middle third of the width and dynamically sliding it along

the frame’s height harmonize with the user’s natural

scroll, facilitating perception and enhancing attention
retention.

The depth Z-axis becomes the primary dramaturgical
tool: dolly-in and dolly-out replace complex multi-plane
compositions, creating the effect of pushing the object
toward the viewer or detaching it from the background.
Simultaneously, multi-level editing

—

such as vertical

split-screen

—expands the narrow frame’s perceived

space without losing image coherence, stimulating
visual and auditory perception through parallel
information streams.

Technical solutions, such as gyrostabilized POV, ensure
the necessary smoothness of movement despite the
limitations of handheld smartphone shooting, thereby
minimizing visual noise and reducing the risk of fatigue.
The combination of vertical pans, axial movements, and
stabilization forms a virtual volume within the portrait
frame, in which lighting, color, and sound perform not
only utilitarian but also compositional functions.
Directed light gradients structure perception from top to
bottom; point-color accents shout from the endless
feed; and binaural and tactile components complement
the visual track, creating a synesthetic system of
interaction.

Thus, the adaptation of classical cinematographic
techniques to the 9:16 format goes beyond a mere
rotation of the frame and constructs a new grammar of
mobile narrative, in which each modality

—

from

The American Journal of Engineering and Technology

266

https://www.theamericanjournals.com/index.php/tajet

The American Journal of Engineering and Technology

composition and editing to lighting, color, sound, and
interface effects

—

acts in concert, turning the vertical

screen constraint into a tool for precise attention
direction. These conclusions provide the theoretical and
practical foundation for the further development of
vertical film language and the optimization of user
experience in mobile video applications.

References

1.

“20 Amazing Video Consumption Trends To Watch
Out

For,”

Vidico,

Aug.

29,

2024.

https://vidico.com/news/video-consumption-
trends/ (accessed May 26, 2025).

2.

M. Sweney, “Adults in Great Britain now spending
more time on mobiles than watching TV,” The

Guardian,

2025.

https://www.theguardian.com/media/2025/jun/25
/adults-great-britain-time-mobiles-watching-tv-
screen-ipa-survey (accessed May 27, 2025).

3.

“Digital 2025: Mobile Data Consumption Trends,”

DataReportal,

Feb.

05,

2025.

https://datareportal.com/reports/digital-2025-sub-
section-mobile-data-consumption (accessed May
28, 2025).

4.

“SMPTE

ST

430

-

16:2017,”

SMPTE,

2017.

https://pub.smpte.org/doc/st430-16/20170714-
pub/st0430-16-2017.pdf (accessed May 29, 2025).

5.

S. Fatah, “Snapchat launches new program,
highlights impact of vertical video,” Media in

Canada,

2016.

https://mediaincanada.com/2016/06/14/snapchat-
launches-new-program-highlights-impact-of-
vertical-video/ (accessed May 30, 2025).

6.

K. B. Perry and J. P. Hourcade, “Evaluating one

-

handed thumb tapping on mobile touchscreen

devices,” Graphics Interface, pp. 57–

64, May 2008,

Accessed: Jun. 26, 2025. [Online]. Available:
https://www.researchgate.net/publication/221474
717_Evaluating_one_handed_thumb_tapping_on_
mobile_touchscreen_devices

7.

D. Parisi, “Vertical Video for Social Media: Best
Practices for Reels in 2025,” LocalEyes, Apr. 08,

2025.

https://localeyesit.com/vertical-video-for-

social-media/ (accessed Jun. 01, 2025).

8.

R. Clayton, “This is a repository copy of Filmmaking
Theory for Vertical Video Production,” University of

Leeds, 2019. Accessed: Jun. 01, 2025. [Online].

Available:
https://eprints.whiterose.ac.uk/id/eprint/180677/1
/EuroMedia2019_52556.pdf

9.

Stéphanos Spyrou, “Discover how split

-screen

videos on TikTok are doubling engagement rates,”

LinkedIn,

Dec.

03,

2024.

https://www.linkedin.com/pulse/split-screen-
phenomenon-double-content-distraction-
st%C3%A9phanos-spyrou-bbg3e (accessed Jun. 02,
2025).

10.

A. M. Baranowski and H. Hecht, “Effect of Camera
Angle on Perception of Trust and Attractiveness,”

Empirical Studies of the Arts, vol. 36, no. 1, pp. 90

–

100,

May

2017.

https://experimental.psychologie.uni-
mainz.de/files/2024/06/2018BaranowskiHecht_Ca
mera_Angle.pdf

(accessed Jun. 02, 2025).

11.

M. B. Yilmaz, E. Lotman, A. Karjus, and P. Tikka, “An

embodiment of the cinematographer: emotional
and perceptual responses to different camera

movement techniques,” ProQuest, vol. 17, Jul. 2023,

doi: https://doi.org/10.3389/fnins.2023.1160843.

12.

“Smartphone Gimbal Stabilizers Market Size,”

Adaptation of Cinematographic Techniques for Mobile and Vertical Video Formats

Abstract

Downloads

Keywords:

Abstract

References