Here's a still from the shoot - this was shot with an XDCAM F355:
Simple, straight-forward three-point lighting, with a fairly evenly-lit green screen in the back. It was easily key-able in After Effects with the Keylight plug-in. So, here's the overhead view of the set-up. I've numbered the lights, so we can go over them one-by-one:
1: Key light, Lowel Rifa LC-55, 500W, with egg crate. Placed approx. 45 degrees from the camera, and placed high and tilted 45 degrees down to the talent. I'd estimate this light is about 5 feet away from the talent.
2: Fill light, Lowel Pro-Light, 250w, barn doors closed way down, shooting through a Westcott flip-open white translucent reflector. Just enough to fill the dark side of the face a bit.
3: Back light, Lowel omni-light, 500 watts, shooting through a XXS Chimera softbox with egg crate. This light is mounted from the ceiling, as to not spill on the screen and get in the way of the screen lights. Some people recommend putting some form of warming on this light to separate the background a bit. That's your choice - I didn't do it here because I felt like a warm back light wasn't right for the talent.
4: Left screen light, Lowel Tota (that's right, a Tota), 500 watts, shooting through tough 1-stop spun. Not pictured on the diagram (but visible in the screen shot) is a piece of foam core in between the Tota and the talent, comfortably placed to eliminate spill but also to not spontaneously ignite from the supreme heat those damn Totas give off.
5: Right screen light, Lowel Tota, 500 watts, shooting through tough 1-stop spun. Same deal as my left light as far as spill control and aim.
A few notes:
-I've angled each Tota so it's pointing toward the edge of the screen furthest from the fixture. The light is more even, because the intensity of the light is obviously greater the closer you get to the fixture.
-As you should do with any green screen set-up, I've lit the screen and the talent as two separate scenes. That way, I can ensure that as little light as possible is travelling between the two scenes. You should be able to shut your foreground lights off and not see any spill (or at least minimal) coming from the background lights. Vice-versa for the background.
-I've used the entire length of the room - it isn't illustrated in the diagram, but there's a counter behind me preventing me from backing up any further. This way, I can get the talent as far away as possible from the screen, helping to alleviate spill issues.
-I test my screen light intensity and even-ness with zebras. If you iris up and down on the cam and zebras show up pretty uniformly, you're evenly lit.
-This setup (which is pretty much the only one I can do with the equipment I have access to) gets my screen roughly a stop under my foreground. Some shooters might tell you that having the screen a stop over the foreground will work as well, but it causes spill to be more of an issue, and I've found that my 1/2-inch-chip camera handles the stop-under situation much better.
-The screen I'm using is a Westcott flip-open 2-color screen, 6x8' I believe. It's got blue on the other side, which we avoid in a corporate environment where (no kidding) everyone wears blue.
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That's my experience. As I'm no seasoned master with 25 years of shooting under my belt (I've got, uh, 5), I appreciate any feedback, suggestions, and critique anyone might have. I also encourage friendly questions and conversation.
