The second season of a hit show is inherently challenging–living up to the high bar set in the first go-around, somehow retaining the spirit of what made the show successful to begin with, and striving to maintain the delicate balance of meeting viewer expectations with a measure of familiarity yet exceeding those expectations by bringing a new dimension to the narrative and the characters themselves.
And if all that weren’t enough, in the case of Squid Game (Netflix), there’s also the task of living up to a global phenomenon as the South Korean dystopian drama became a cultural touchstone in season 1, sparking fascination and discussion at the proverbial office water cooler–in-person and throughout social media.
Cinematographer Kim Ji-yong embraced these challenges upon being brought in to lens season 2. Kim built on the foundation of the first season which was lensed by Lee Hyeong-deok whose work earned an Emmy nomination in 2022. That was but one of 14 Emmy nods garnered by Squid Game for season 1, yielding six wins, including for Outstanding Directing for a Drama Series (for creator-director-writer Hwang Dong-hyuk), and Lead Actor in a Drama Series (Lee Jung-jae for his portrayal of Seong Gi-hun).
In some respects, the character of Gi-hun reflects the evolution of the series from the first to the second season. He is no longer aimless, returning to the games with a sense of purpose, taking us deeper within not only himself but also a system bereft of a moral compass. It’s a world where brutality for the sake of “entertainment” has taken hold.
DP Kim related, “After the global success of Squid Game Season 1, the second season felt like more than just a continuation. The world and characters had changed, and that opened up new visual possibilities. Gi-hun, for example, is no longer the same man. His trauma left deep psychological scars, and I wanted to express that shift through the use of stronger shadows and more fractured imagery.”
Helping Kim meet the challenges of season 2 was a collaborative bond already in place with Squid Game creator-director Hwang. Over the years they had worked together on three features (Silenced, Miss Granny and The Fortress) prior to Squid Game, building what the DP described as “a solid foundation of trust. That kind of relationship makes it easier to take creative risks–knowing I’ll be supported even if I try something unconventional.”
Regarding how the show has evolved in terms of its cinematography, Kim observed, “Season 1 had a very iconic look–colorful, composed, symmetrical–and I wanted to respect that. But season 2 needed to go deeper, both emotionally and visually. I leaned into darkness–quite literally–using shadows not just for mood but to reflect internal states. I brought the camera much closer to the characters this time, especially during pivotal emotional moments.
“For each game sequence, which we shot over several days in order, director Hwang and I would watch rough edits together every night after wrap. That allowed us to reflect, make adjustments, and sometimes rethink entire setups. One result of that was using more overhead wide shots in the Mingle game–we discovered their power only after seeing how the sequence was shaping up.”
The biggest challenges of season 2 from a cinematography standpoint, shared Kim, were “spatial and logistical. Although we used Korea’s largest studio complex, the sets were still tight when it came to lighting setups. The dormitory set, in particular, had walls that reached almost to the studio ceiling, leaving no clearance for traditional lighting rigs.
“I had to find unconventional solutions–like rigging lights above the studio grid, which I had never done before. I worked closely with production designer Chae Kyoung-sun to find every bit of available space without compromising the look of the set. It was a constant negotiation between design and function.”
Season 2 of Squid Game was shot on the ARRI ALEXA 35, a camera which Kim had previously deployed on The Sympathizer, a miniseries which earned an Emmy nomination in 2024 (for Robert Downey Jr. as supporting actor), and earlier this year scored a Film Independent Spirit Award nom (for Hoa Xuande in recognition of Best Breakthrough Performance in a New Scripted Series). Kim gravitated to the ALEXA 35 for Squid Game, explaining that “its shadow detail and color fidelity really stood out to me, and I felt it was the right tool for the emotional and tonal range we were aiming for.”
Lens-wise, continued Kim, “I used the Cooke Anamorphic 2x set as our main look, with additional support from Cooke S4s, Zeiss Super Speeds MK3, and zooms like the Angenieux EZ1/EZ2, Angenieux Optimo 28-340mm, and Fujinon 19-90mm. Most of the lighting came from LEDs, diffused with thick spun cotton–something I picked up from gaffer Jarred Waldon during The Sympathizer. It gave the light a soft, pleasing texture that worked well for both close-ups and wider scenes.”
As for his biggest takeaway or lessons learned from his experience on Squid Game, Kim shared, “This project reminded me that emotional impact often comes from the smallest details. In a show filled with spectacle, what stuck with me were the quieter, more intimate moments–a look, a shadow, a reflection.
“One of my proudest shots is the close-up of the Recruiter during his Russian roulette game with Gi-hun. The red neon from outside reflects in his eye, making it look bloodshot. It heightened the tension and gave Gong Yoo’s performance a visceral edge. I wanted to capture his face in a way it hadn’t been seen or shot before.
“That shot encapsulates what I always aim for: not just striking images, but ones that resonate emotionally.”
This is the eighth installment of SHOOT’s 16-part weekly The Road To Emmy Series of feature stories that explores the field of Emmy contenders, and then nominees spanning such disciplines as directing, cinematography, producing, editing, production design, casting, costume design and visual effects. The series will then be followed up by coverage of the Creative Arts Emmy winners and the Primetime Emmy Awards ceremony in September.
