TL: I thought the colors were so vivid in the commercial as well without being too hard or garish. Did you look at any other films or art that inspired you on how you wanted that final look?
TCM: Well, I think a lot of the color space came from the location. We had this rich brass worktop, and our main model had a brassy, goldy top on, so all those warm tones and the color temperature I ended up shooting at really made the richness of the metal, the glossiness of the fabrics, all sit together. And I had a fair amount of cracked oil in the room just to give us that hazy atmosphere to give the shadows a little bit of texture and depth, all the backlights had a bit of volumetric light in them. So the whole imagery is all crafted around having a lot of texture and depth without it just being just black and white contrast. There are a lot of midtones that all work around that. But because of all the metallic surfaces, you get a nice amount of highlights out of it as well, and I paired that with a lot of the practicals in the back of the shop, which worked really well with the bokeh that the glass was providing us.
TL: Where did you shoot the commercial, and how long did it take?
TCM: We shot for two days in a bar in Central London. We had one day to prep and light the space, because we filmed it in the daytime, but needed it to have a nighttime aesthetic. So we had to do a lot of blacking out, and I rigged in some Kino Flos, Dados, and some hard sources of tungsten lighting - just enough to wrap around and give the actors some nice three-dimensionality, some depth, and texture across the scene. But the physical shooting we did in just one day.