You'll need an inside mask to keep the shirt because it's the same color as the background. The screenshots you posted are very small. I'm guessing that they are either cropped from full frame or that the zoom factor in AE was less than 100%.
Here's what I would do.
- Set the project to 32 bit.
- First color correct a copy of the footage to improve the quality of the shot and get yourself some more dynamic range.
- Precompose the color corrected footage.
- Create the best combined matte you can using Keylight and an inside mask using the pre-comp.
- Use the pre-comp as a track matte for the original footage unless you really love the color correction
- Add refine matte to clean up the key and soften the hair
- Manually add some light wrap to blend the edges of your model with the background
- Apply final color correction
If you don't have a 3rd party light wrap effect then you can create one manually. There are several good tutorials on the web for light wrap. Just type light wrap in the search help field at the top right corner of AE and follow the links.
And, if you don't have CC 2014, you can get a free 30-day trial and do your work on this shot with the Key Cleaner effect.
...and of course you can always give yourself the best possible chance at getting a good chroma key by:
- Separating subject from background by at least two meters
- Lighting the subject separately from the background, which is possible even on chroma key shots done outdoors
- Ensuring that the background is lit evenly, with no hot spots or dark spots
- Keeping the background smooth and wrinkle-free
Getting a good chroma key isn't a simple matter of putting a subject in front of a background. It takes some work.
I think it's just a matter of adjusting the settings carefully and adding a bit of light wrap.
This is a 30 second stab at a solution using some background footage I had lying around.... Add some camera lens blur to the background to create some depth of field controlled by an effect mask and you're done...
It's a render-hog, but I've had a lot of success with the Refine-Edge tool when dealing with tricky keys.
Refine edge is a help but light wrap is a must for almost every composite.
Sir! Thank you so much!
I use this method just for the hair, as a second layer of chroma, behind the chroma core:
First apply some Curves to brighten the imagem, then a Hue effect to saturate the imagem.
After that, use Shift Channels : Take Red from Blue, Take Green from Blue, Take Blue from Blue.
Apply Levels fx to separate the air from the background.
Use the resulting image as a luma matte.