One small detail I forgot: I have a couple of three-light setups that I prefer. I select one of those from the Library. The camera is free to move on the stage to wherever you like in relation to the lights, but there are "good" positions & positions that are terrible for the camera in relationship to your lights. Changing the camera angle relative to lights -- either tracking up or down, left or right or whatever, can drastically vary the quality of light that the camera sees. As someone else mentioned, the intensity of the light is critical because if it's not high enough, the final render will look muddy. On the other hand, if it's too high you'll have burned out areas on the light parts of your figure. For one example, one setup I like uses a fairly standard three-lights. As you're looking at the figure, one main strong light is front left up high, another strong light is front right either level or low, the third is back left of center positioned high up. If I dolly the camera so that it is diametrically opposite the two front lights & aim it at the figure, this produces the worst possible camera/lights angle, whereas the same light setup will produce an excellent rendering if I position the camera on the same side relative to the figure as the front side lights. There is a sweet spot on that front side that, like I said the camera sees best & any figure placed in front of it will then be beautifully sculpted by the lights, no matter how the figure is then spun around on its Y axis. It's a very simple process, I don't know if my brief explanation is clear. It's a lot easier to do than explain.