Excellent key being pulled on the actor there. Is the fuzz on his right ear (third row) that's being highlighted on the right something that was added in, or do you guys have a 4K camera that captured that much detail?
Did you have a ring light for the first frame or did you track that in?
The fuzz on the ear, while something that might be overlooked by someone else, definitely adds a huge layer of realism on the key.
In that same shot the only thing that sticks out is the light that's in his hand that's emitting that long anamorphic lens flare: It's too soft. I know it's supposed to be out of focus, but bright lights actually keep their hard edges whilst out of focus in the form of bokeh. Then there is a glow on top of it.
Other than that, I'd have to see it in motion to critique any further. This is definitely lightyears ahead what was happening just 4 months ago with that one commercial you were doing in terms of lighting, both on set and in the compositing booth. What compositing software are you guys using over there in Tajikistan?
Also, I'd like to to commend you for the realism on the explosion composite in the end- was the character a 3D model at that point? Because I can't imagine how you got his left leg to lightwrap so accurately. Hit me up tonight on MSN if you want to show me more.