14/01/2026
Come behind the scenes with us on Uber Eats' ‘Evil’d Enough’ spot from OPositive Films and Mother London, serviced by Black Island Studios and Panalux London.
The spot’s gaffer Julian White tells us, “One of the three sets designed by the excellent Andy Kelly was a brutalist science fiction monolith on a planet in a distant galaxy – dark grey walls and vast rooms lit from a large single aperture. We decided to hang 6 Vortex V8 fixtures on three separate ladder beams behind a 20’ x 20’ half gridcloth with a soft egg crate, lent at a 60 degree angle into the centre of the set. Large 20x20 black solids hung on either side cut any spill, and both open sides of the set were created with further blackouts. The second, a long corridor, had a single slot window running down one side. We used a run of Vortex V8’s with no diffusion to create a sharp endless line of directional light. It worked perfectly, enhancing both the architecture and the frames composition.”
“It was lovely to work at Black Island and do a decent sized set build in London, allowing me to work with my long-time collaborators art director Ashley Dando and prop master Jason Bradley, who are the best to do it,” production designer Andy Kelly tells us. “Our director David Shane wanted to really lean into the cinematic version of this script, and after showing him some thoughts and references, we thankfully landed on moody single source lighting style and minimalist brutalist looking design. We were lucky to have Verity Hawkes tying it all together with her beautifully designed costumes.”
"It was an exciting job to be a part of,” says cinematographer Sebastian Blenkov. “The visual approach came from the incredible Andy Kelly before I was attached to the project, and it was such a great collaboration with him. It was important though for David, Andy and myself to keep the spot in a very cold, soft, dark grey environment until he finally gets into a more warm environment for the final. The main idea was to have this soft key light coming from the big light shafts, no visible windows at all. We were shooting with four cameras at the same time so we didn’t want any lights on the floor and wanted to be able to move quickly."
