Essentially, Kim and director Gyu Tae Kim were applying a cinema working-method and a cinema look to the series. Kim used a lot of long focal lengths and extreme close-ups, which allowed him to focus in on the emotion of the actor, catching every nuance. With twice the amount of lighting equipment, a cinematic lighting style and the extra flexibility afforded by color correcting Log C material in post, they achieved a high-end cinema look. Says Park Hwan, lighting director, "It's both my and Kim's philosophy that the actress should look beautiful even when she is wailing."
The show's producers initially fought against the increased costs of higher-end equipment, but director Gyu Tae Kim was as quality-driven as his cinematographer Kim. Once the producers saw the pilot and the image quality they had achieved, there was no more opposition and they came on-board. Now, with the show's success, Kim can do as he pleases. Producers have learned that if Kim shoots a TV series it might cost a bit more, but they will get remarkable image quality. "In the end, it's a small price to pay", says the cinematographer.