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Do you have Premiere Pro CS6? You might have better results keying your footage with Premiere's Ultra Keyer. It can do really clean keys, with far less fiddling than Keylight requires.
Key your footage in Premiere, then import that project into AE with Dynamic Link.
If you want to stick with Keylight, I gave a couple tips over at this thread: http://forums.adobe.com/message/4185032
If your edges are noisy then you don't have the settings right. Keylight can pull great keys if you know how to use it. Try searching for Keylight tutorials. There are a bunch of good ones.
If you still can't pull a good edge then your footage is probably full of compression artifacts. Some footage is just hard to key because of the color space and the compression.
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One way to solve this is by first creating an interior mask...
1.) Draw a mask that surrounds the character with just the edges left showing. Then animate the mask path to follow the character for the duration of the shot. The mask doesn't have to be perfect it just has to stay within the edges of the character.
2.) Then duplicate the mask to create an exterior mask...
a.) Copy and paste the first layer with the animated mask on it so it's above the original layer.
b.) Change the bottom mask so it's inverted.
c.) Then apply the Keylight effect to the bottom layer so it's only effecting the information between the edge and the green screen.
d.) Then change the Keylight effect settings until you have a good key.
e.) The exterior edge may turn a slightly different color than the interior character so you may have to play with the mask expansion and feather settings on both layers in order to blend the exterior edge with the interior.
Finally, a blur effect could be added to the exterior keyed layer to soften any noise around the edges
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Try changing "Replace Method" from Soft Colour to Hard Colour.
Using Keylight and noticed that for me Hard Colour or Source was better. Thanks Andrew for the tip, that at least got me going here
Another possible trick, is to set the view to "Intermediate result", rather than "Final result"
Keylight does a lot of automagical spill surpressing, and the results are not always the best (in my limited experience.)
Also, looking to the 3-way keying method might help you a lot as well. It is a procedure outlined by Mark Christiansen in his book, but i think you might find some details online as well (Aharon Rabinowitz also mentions something like this to get ultra tight junk masks) - Anyway, it involves getting three copies of the layers - one as a garbage matte, one as the core matte (Similar to BenMarkus' suggestion above) and then the last one is th edge matte. Bu using some clever modes, you are left with a few pixel width edge around the talent, and your interior is left alone by the keying technique used.
Hope that helps,
Realizing this thread is a number of months old, I thought I'd also mention the first solution that Pierre Devereux suggested. "Intermediate result" really helped me. I'm also going to look into the 3-way keying method. Thanks everyone for your suggestions.
Glad to be of assistance!
Most of the time noise in a dark suit can be easily cleaned by adjusting the keying settings. That's where the noise is coming from. It's hard to see in a still frame. A perfect key is almost always the result of some very careful tweaking of most if not all of the settings in Keylight or Primatte. You can get very close in a click or two, but perfect requires tweaking.