I'm not able to provide such detailed info, unfortunately. I used two lights with 28" and 36" octaboxes, and they were moved around often as the poses, outfits and sets changed. Should one keep records of lighting setups? I have been to many shoots in different studios and nobody here does that.
Well this explains a lot. I'm not trying to be harsh, but they supplied the model, wardrobe, lights, setup, pose and your sole creative input was to press the shutter???? This is why I HATE THESE EVENTS, like
@cgw noted above they're a racket designed to make money, and provide zip in learning experience for the photographers attending.
The lighting is flat, done that way so that they'd assure most everyone would get a shot regardless of their skill, but results in total lack of any dimensional modeling of the facial structure. You say the model is a professional, but based on the pose she looks more like she's going to a Wrestle Mania event. Any model with experience should know the difference between head tilt for feminine and masculine poses, as well as how to pose, but ultimately it's the photographers job to direct and engage. As to the makeup, since you have no idea on any of the information from the shoot, I'm assuming that you didn't use Color Checker or some other method of setting a profile for the lights. It's not her makeup, that's causing the tonal problem, it's the light reflecting off the makeup (which is different than the bare skin). Despite the fact that I use the same lights, modifiers, and mostly the same general setup, I shoot a Color Checker card prior to every shoot, and create a profile for post correction. The condition of the skin (blemishes, wrinkles, make up/no makeup), determines my light placement, modifiers, reflectors and flags. When I get to post I have "known values" to work with, so that any corrections needed can be done without guessing.
Studio lighting isn't rocket science, but it does take practice and yes even notes initially. If you really want to learn, the first step in the process is to buy one of those foam wig heads. They're cheap, you can find them about anywhere. Take the head, put it on a stand in a dark room. Take a flashlight and shine it on the head. Move the light around slowly, in and out, up down, pay attention to how the shadows fall, how the shadow transitions soften as you move the light closer and get harder as you it away. Understanding shadows and transitions is an important first step.
BUY AN INCIDENT LIGHT METER, you can find a good used one like Sekonic 308 in the $100-$125 range. IT IS NEXT TO IMPOSSIBLE TO ESTABLISH LIGHTING RATIOS WITHOUT ONE unless you have sufficient experience and knowledge of your equipment. Now start off with one light, it can be a speed light if you can move it off camera. Get a stand with adapter for speed light, a white reflective umbrella and a large white poster board for reflector. Set your wig head up on stand, the light stand can be on either side approximately 45 degrees off CL of camera (about 6' away to start), point the speed light into the umbrella, raise the umbrella up so the center shaft is just above the forehead of the wig head, then point it down at the eye socket. Put your white poster board on the opposite side about 3'feet away. Take your incident meter with the back against the head and the dome pointed at the light, adjust the power on the light until it reads F8. Go to the opposite side, adjust the poster board in or out until you can hopefully read f5.6 (2:1 ratio). Now with the back against the head, under the chin pointed toward the camera take another reading...This will be the aperture setting for your camera. Shoot and check your shadows, have you got gradual micro transitions, or sharp edges??? Experiment moving the light away or closer, adjust you light settings accordingly and look at your shadow transitions.
Once you feel comfortable with one light, add a second, now you can really start to work on Ratios. Learn what they are, how to establish, and what to use.
When you have that down add the third light (kicker), that's the cherry on top of the sundae.