This is what we have done in the past - a line of 2K blondes far in the trees as high as we could get them. Thanks for the suggestion, it would be a good idea to have a large HMI up high but would a 2K HMI provide enough light? I'm trying to figure out some sort of plan based on what I have available.
Certainly a fan of Shelly Johnson's work on The Wolfman, and even though the lighting is not from a "natural" source, it fits the film perfectly. Here are a few screens from a previous project where we lit using the 2K method, as high as we could to replicate moonlight. Shot on a 550D so I was doing my best to keep the ISO low.
So you'd recommend keeping the 2K/HMI's to replicate moonlight in the background, further down the road/through the trees, and then a softer light as the key light on the subject which we'd adjust as we go? I'd assume it would have to be very soft so it's not obvious to the audience that it is lit. We could diffuse some redheads or attempt to source a Kino locally. And I assume this key light would be more for the audience to see our action and characters rather than to replicate a "natural" light source?
Agreed - that's some beautiful lighting David! And that's purely from the 2 HMI's and the HMI joker you had in the bushes to pick out the characters?
I've been looking at Dean Cundey's work on Jurassic Park and of course Kaminski's work on The Lost World. How do you think this and this were lit? It's similar to the look I want to find for my own short. It's very different to this shot, which always looked like it was lit by the park's own "service" lights at the side of the road, much like street lights.
Thank you all for your help so far, it's really interesting to see how the A7S is handling moonlight. It's going to change low-budget filmmaking, that's for sure. Love the look of that scene David - what project was it from? :)