For me it depends how wide you want to get in your widest shot AND how big the room is. If your room is fairly big, you could probably get away with simply pointing the Arri into the corner of the room at full spot right above the middle of your frame, gelling it red and dimming it way down. Then you would get one 4x4 daylight kino bank right above your protagonist, skirt the outside with duvetyne and set your camera white balance to 3200k. To finish, you would add 1/4 CTBs until you were satisfied with the tone of blue you would get. For this, it might be a full CTB. Because of the strong amount of seperation between the red and blue, it would be fairly easy to get EXACTLY the color you wanted for both of them in the grade, assuming you got the colors on set even close to the ones in the still.
If the room is fairly small, then you couldn't get too wide in your shots anyway, as otherwise there would be a ton of spill between the two light sources and you dont have the space to hide the forest of flags it might need to contain the spill from the background into the foreground.
How you would get the kinos right above the talent would depend on the location and how wide you want to go. Either you use a goalpost rig (if you arent getting too wide in your shot), a menace arm or you can somehow attached it directly to the ceiling (often possible in industrial settings).