They use … “whatever works.” :yes:
The best way to deal with a scene like this is to first realize that it was shot on somebody’s kitchen table. One hundred percent of the lighting is “fake.” So, look to see where the light is coming from. (Also be on the lookout for Photoshop alterations … the shadow on the bottle behind the one with the cork probably wasn’t really cast on that bottle by that other bottle. I detect an airbrush-tool, artfully applied.)
The lighting would at minimum consist of a large softbox to the right/above of the camera, a “snooted” light on the lower left, and a tilted sharp “snoot” at a 45º angle to throw the god-beam. There’s probably more “dodging” that’s been done below and to the right of the globe, because the amount of light underneath that globe is considerably less than what’s shining on the shadow-side of the nearby box. The right-hand box is lit very differently from the one on the left. The lighting of the left side of the right-hand box, inexplicably, isn’t occluded by the little oil-can, nor is there any clear angle that would not be blocked by the box on the left. There’s no source of "warm, yellow light here … and yet, here it is.
Moving along to textures, the entire shot has a sepia-tone color profile. A noisy texture designed to look like dirt has been applied. A certain amount of “caustics” have been used to give the effect of glass.
Probably the easiest way to do this shot – and this shot would not be “easy” – would be to use compositing. Break down the shot into its individual visual components, light each one separately and in a dramatic way, and inject shadows as-required. Get good, clean exposures on each, composite them together, and individually adjust the hue and saturation of each element as well as of the shadows. When you add textures, grab the texture layers separately so that you have tonal control over them as well. Shoot in neutral light and add the tonality later. Plan the workflow so that you can do adjustments without re-rendering. (It will be one helluva big compositing “noodle.”)
Although this might sound “terrifically fake,” it actually corresponds to what real photographers do and did: as Ansel Adams put it, “a picture is captured in the camera, but it is made in the darkroom.”