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For clarity's sake, turn off effects for Edge for the moment.
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This breakdown will work with any software keyer, but it's especially helpful to get the most out of Keylight. The three-pass method is the same principle, but it should save you from extensive hand-animating. Keylight's Inside Mask and Outside Mask controls let you draw a mask, set it to None, and then select it as an Inside Mask or Outside Mask. This method of isolating and focusing on the edge inspired me to devise the following workflow to achieve the same in an After Effects pre-comp, with as few extra steps as possible. The Apple Shake-based implementation of Keylight adds inputs for a garbage matte and holdout matte. Figure 7 Nice edges-it's the core of this matte that needs to be a little firmer.
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