Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
Cinematographer Kim Ji-yong admits that a “happy accident” furnished one of the most alluring images of “Squid Game” Season 2: an overhead shot in which contestants stand on a merry-go-round while playing a devious game where they must form groups of a specific number before time runs out or be eliminated. “We planned the shot and pre-lit the scene from eye level, but when we actually went to put the camera up there, that was the first time we saw it,” he says. The elevated perspective was framed more than 100 meters above the contestants, with Kim wanting the image to “look flat” and “not as realistic.” The result is a surreal portrait that mimics the shape of an eyeball, a metaphorical reminder of the control room watching the contestants’ every move. During gameplay, an immersive camera, often handheld, makes the audience feel like a participant. Adding to the mystique is a painterly palette of primary colors. “For the whole season, I wanted to place red and blue lights, the colors coming from the X and O, in the dorm room,” Kim says. “When they play merry-go-round, the moment they pick who to go with, the light changes to red and blue. It symbolizes choice.”
