Track motion for graphics

Attach the logo graphic to the actor’s jacket so it follows their walk from 00:02:10 to 00:02:22. Track the motion, apply the tracking data to the graphic layer, and bake position and rotation keyframes so the tracker’s drift is fixed. Hand this to Lev in VFX with the tracker matte and a notes file documenting frames 00:02:15–00:02:17 where occlusion happens.

Before I send this to the client’s marketing producer, make the tracked graphic feel anchored. Re-run a planar track on the 00:02:10–00:02:22 segment, clean up frames where the hand passes over the logo, and add one stabilizing rotation keyframe at 00:02:16. Flag any five-frame gaps where the tracker fails so reviewers focus on those trouble spots.

I tracked the logo across the trot from 00:02:10 to 00:02:22 but the track jumps during a three-frame occlusion at 00:02:15–00:02:17. I’m worried manual keyframing will drift and the producer expects pixel-perfect alignment. Should I patch the occlusion with a short manual keyframe, use a secondary tracking point, or export the track for hand-tweaking in the compositing pass? Which trade-off preserves accuracy and speed?

On nearly every shoot I end up re-running tracks and patching occlusions under a client deadline because I trusted a single tracking point and didn’t flag occlusion risks in dailies. That means late nights and rushed fixes. What routine should I adopt during ingest and rough cut so trackers rarely fail and the first pass is review-ready?