SQUID GAME GRADE CASE STUDY
of each scene precisely to match its emotional context,” he says. “I frequently used a range of the primary grading tools like Video Grade, Curve Grade and Film Grade to support the grade. “We also focused on narrowing the gap between bright highlights and deep shadows in HDR to create smoother contrast. In order to prevent the image from appearing overly digital, we used Baselight to soften the sharpness or add grain where needed.” Squid Game Season 2 was shot with the ARRI ALEXA 35, which had the ability to “bring out the full potential of the image while also preserving the unique atmosphere and colour identity of the sets and art direction,” says Jin-young. “This balance was a major challenge. “The large-scale game arenas demanded precise colour adjustments to convey spatial depth and visual diversity. My personal goal was to express a more elevated cinematic quality, even though the sets, costumes and overall structure remained continuous from Season 1.” Jin-young continues: “I see this as a basic duty for any colourist. The differences may be subtle – something only I might recognise – but to me, that made the work even more meaningful and rewarding.” One of the aspects Jin-young enjoyed most about this project was the challenge of preserving the unique colours and atmosphere of the set while enhancing the realism and spatial texture of each location. “The larger game arenas in Season 2 offered a broader visual playground, and I’m proud of how we brought them to life,” he comments. “Each chapter of the story carries its own visual identity, and I feel the diverse colour treatments helped package those segments in a way that was not only cohesive, but also emotionally engaging.”
SQUID PRO QUO The visual tone of Season 2 mirrors the mental toll of returning to the games
viewers through Gi-hun’s emotional journey and the narrative progression.” The colour palette for Season 2 maintained a general consistency, but shifted in tone and style intentionally to reflect specific scenes or emotions. “In the dormitory – where characters sleep and vote – we created a clear distinction between night and day using strong amber tones for night and subtle blue tones for daytime,” says Jin-young. “In the Russian roulette scene between Gi-hun and the Recruiter, we used red neon lighting to express heightened tension and emotion. These shifts in colour helped emphasise each character’s emotional state and added to the overall storytelling atmosphere.” Ji-yong also adopted this approach through the cinematography. “I am most proud of the close-up of the Recruiter during the Russian roulette game. The red neon light from outside the window reflects in his right eye, making it look bloodshot, which enhanced the intensity of his performance. I believe we successfully showcased Gong Yoo’s face in a way never seen before.” Ji-yong continues: “The motel room in the final scene of episode 1 was designed to be quite realistic, while subtly incorporating the signature colours of Squid Game in an expressive manner. I carefully set up the lighting with colours
that were both visually and narratively appropriate, ensuring it didn’t overpower the scene. “With the footage offering many possibilities for post-production, talented colourist Park Jin-young brought these potentials to life, creating a rich visual experience,” adds Ji-yong. “The shadows were dark but not monotonous, while vivid red stood out in the midtones.” The voting scene among the survivors is one of the most captivating elements of Season 2: “To enhance the visual impact here, I chose to design the lighting in the mass dormitory – where the voting takes place – differently from the previous season,” says Ji-yong. “The colours of the O and X on the floor were extended to illuminate the entire voting scene so that their overlapping colours could add both symbolism and visual depth. “To bring this idea to life, I changed the colours of the pre-selected S60 lights on the ceiling to red and blue, allowing them to blend in the centre while still maintaining the distinct red and blue hues on either side. This concept was later refined and enhanced in post with the expertise of Jin-young,” adds Ji-yong. Jin-young utilised many tools in Baselight to support the emotional colour journey of Season 2. “It delivers powerful grading functions and a flexible workflow, which allowed us to adjust the tone
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DEFINITIONMAGS
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