[Photos] Lee Sang-yeob on battling the “end button” every time in short-form series; director Lee Byung-hun says he was “told off harshly” at BCWW 2026 conference

Lee Sang-yeob and Lee Byung-hun battle the short-form “X button,” cutting costs by 60% with AI

BCWW 2026 conference presents behind-the-scenes stories from 70 productions and a transparent data-sharing model

As the media ecosystem undergoes seismic shifts, established creators opened up about the grueling experience of entering the unfamiliar “short-form” market. From the intense pacing required to keep viewers from leaving to production environments that overturn established conventions, they gathered at the “BCWW 2026” conference to acknowledge the media paradigm shift and stress the need for new models of mutual growth and technological alternatives.

Pushing past the limits of pacing in a fight for survival against the end button

“It felt like boarding a runaway train with the viewers. Every moment, my task was to defend the red ‘X’ end button in the upper-right corner of the screen.”

Actor Lee Sang-yeob recalled his experience making short-form dramas at the “BCWW 2026” conference, held on the 15th at COEX in Gangnam-gu, Seoul, as part of the International Broadcasting and Video Market. He described a merciless environment in which even a momentary pause was unacceptable amid the rapid pace, explaining how the breathless rush of the early stages gradually transformed into a thrilling game.

Compressing and proving a story: the weapon for winning over established actors

Lee Sang-yeob, who took an early step into the market last year by starring in the global platform DramaBox’s “A Stormy Marriage”, offered sharp insight from the perspective of an established creator. He countered the prejudice that short-form content is meant to be consumed casually with the philosophy that “just because consumers enjoy something easily does not mean creators should treat it lightly.” The essence of acting remains the same, he suggested, but the short-form grammar of rushing straight to emotional extremes without building up the story made every scene a small ending and an endless challenge.

He also stressed that attracting established actors requires more than simply gaining an early foothold in the market. The industry must first win them over with compelling characters and stories, he said, calling for a growing body of successful, well-crafted productions.

A veteran director’s unfamiliar mire: diversifying genres beyond dopamine hits

Short-form content has been a harsh test even for directors who reached the top in traditional media. Director Lee Byung-hun, who directed “Dad Is My Guy Friend”, said he approached the format out of curiosity but was thoroughly reprimanded by the experience. He called for new technical and emotional training that differs completely from conventional storytelling, and predicted that the market will evolve beyond stimulation and dopamine-driven content toward greater genre diversity. He also urged the industry to build systems that protect creators’ rights.

Director Oh Ki-hwan, whose film “The Art of Seduction” was released in theaters, also described completing three productions in one month and now working on 70 short-form episodes in succession. Just as creators adapted to the end of the film era, he argued, they must learn to ride the waves of change in media with flexibility.

Overcoming the platform dilemma with data transparency and AI-driven resource savings

The conference also held an in-depth discussion on the structural dilemmas facing the market and possible solutions. Vera Liu, a director at global platform ReelShort, emphasized the importance of quality over quantitative expansion and identified providing value to retain cherry-picking subscribers as the top priority. Jung Geun-wook, CEO of KT Studio Genie, strongly argued that transparent “data sharing” must be the foundation for producing high-quality content at scale.

The conference drew particular attention to new possibilities enabled by “AI integration.” Director Lee Chang-woo presented a case study involving the AI-based short-form series “Return of the Martial God”, which cut production resources by 50% to 60%. Analysts said the development could provide a decisive new avenue for bringing super IPs that had been blocked by high capital barriers to global live-action production.