The idea for this set was more based on a feeling of warmth and a general look and style, rather than a very specific scene. We played around with the positions of the lights behind the blinds to make a nice set of lines and shadows, put warm gels over all the lights except the key, and went for it!

In the end the lighting was quite straightforward: a softbox to camera left, an umbrella with a warmup filter over the flash to camera right, and two undiffused flash heads behind the blinds with warmups on them.

The overall result of all that is to lend a lovely unified set of tones to the shots, tones which we decided to emphasise still further by our choice of gold rope. Often we pick a rope colour that "pops" so it stands out. You can see Ariel standing and trying the various ropes in shot. When we looked at the test shoots on the PC everyone agreed that the gold was the one to go for.

The main thing to watch with coloured light is that you keep the key white. If you don't everything goes orange, including the whites of the eyes, and it just looks like the colour balance was all wrong. It can work sometimes (candlelit shots, for example), but usually it is safer to keep the colour in the fills and leave the key white. If you look closely you can see that the shadows are very warm, and indeed in the shadow areas Ariel's eyes do go a bit orange, but it looks credible because they look white when she is in the light of the key.