Yep, first by Dyntopo and then retopo (retopoflow) and did other adjustments on multires. Nailing the face down was really difficult, because I wanted for her to look similar to the cinematic, but it ended up making her look a bit too masculine (and I think her face changed quite a bit throughout the cinematic, probably due to multiple artists drawing her), so I toned down some features. Here are some test renders of the whole process.
Yes, there is “catch-light in her eyes” – and a nice, unearthly glow – but … “the brightest and most contrasty thing in the shot” is the top of her bodice. I think that there needs to be a very slight key-light illuminating her face, and something to avoid that whisp of hair guiding your eyes around her eyes. Your gaze needs to be very quickly led to, and locked onto, her eyes. The traditional wisdom is that there should be a path from the brightest-spot to the point-of-interest and back again. Right now there is no such path. The most important part of the picture – her eyes – is in shadow.
Maybe send a focused key-light up from below her bodice position to be framed by her cowl. It should not be an overt or obvious light, but I think it needs to be there to really sell the shot. JM2CW.
The very tight face crop, two images above this comment, of course improves things because now her eyes do command (although the bluish glow is gone), but I still feel that her face comes out just a little bit flat; the 3D-illusion is still not quite right. (This is where the sideways-fill of 3-point lighting would help.) Maybe the light should be on the triangle of her nose and eyes and not just her nose, although I do see why you’re using a top-down key there. Maybe the top-down key and a less-intense bottom-up key would do it.