Often there is not enough time to trick out each shot. Combine that with a little more care in lighting and hours of post-production headaches can be eliminated.When blue and green screen images are not perfectly shot or lit, the background reflects blue or green spill on the subject. Many keying problems can be significantly reduced by just changing the shutter speed. If I had shot that footage I probably would have used a 90º or even 45º shutter (1/100 or 1/200 of a second) shutter to prevent motion blur and I would have lit it a little differently. I almost always shoot my greenscreen footage with higher effective shutter speed and even at a higher frame rate because it's much easier to put motion blur back in a shot than it is to key around it. A quick look at the image also shows a fair amount of motion blur. I might throw some color correction on a duplicate of the sample image, precompose it, then pull the key on the pre-comp and use that as a track matte for the original. I could also show you two or three simpler shots that had multiple masks, a little hand roto and three or four copies of either Keylight or Primatte. If I wasn't on the road I could probably open up an old project that showed at least 4 copies of the footage in a pre-comp that were used to create a track matte in the main comp with a half dozen effects thrown on the original layer to handle spill and color correct the image. You do what you have to do to make the composite work. I've had multiple masks on layers + keys and I've even combined rotobrush with keying effects. I have used multiple copies of Keylight and/or Primatte on the same layer, used multiple copies of the layer with different settings to create a combined track matte for the original layer, then added another copy of Keylight or Primatte on the layer with the track matte just to handle the spill suppression.
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