No, I'm still not bored playing with jets..
Jets are fun.
A few words on camera shake.
First, it feels to me like there's too much shake. The virtual lens is moving like a full foot. That's a shockwave that would knock over the cam op. I've worked air shows as a cam op. The Shockwave hits and passes in a very fast time frame. After about 1/4 of a second the wave is passed and you're re-steadying your cam.
Second. The jet is passing by, but the wave (and sonic boom, if any) is caused by the plane pushing air aside (in the case of a sonic boom punching a "vaccum" tunnel in the atmosphere, then the air rushes back into the vaccum). Yet the plane moves faster than the shock wave. The shock wave hits AFTER the plane has passed not before.
Your flight paths are good, you've matched the lighting. The roto is solid, but the cam shake is giving away the game.
Oh, when I use the cam shake effect, I tend to use two. One is my "Large" movement and covers things like "arm or body" movement - things that would be moving the camera itself more than an inch or two. My second shake is my "vibrations" pass. This is things like involuntary hand movements (if holding a cell phone), but also covers things like trucks rumbling by (something that would send vibrations up my legs or up my tripod) or... A shock wave/sonic boom vibrating lens elements.
So, two camera shake effects. "LARGE" probably doesn't need to move more than 50-75 pixels. The shock wave hits, causes the cam op to blink/flinch as the blast hits the face. A "Smooth Out" keyframe should be used as the camera settles down and the frequency drops over about a second. "SMALL" only needs to be 5-10 pixels and uses a "Smooth" keyframe curve over about 1-1/2 to 2 seconds. The small vibrations are harder to control and steady.
Note the values given above are specifically aimed at simulating handheld cell phone video assuming your camera is in both hands, extended in front at about shoulder level. A tripod would be different. A shoulder mounted broadcast cam would be different. A gimbal would be different, etc.
But, being a broadcast cam op for a decade, I've put a lot of thought into how to put together realistic camera moves in CG/VFX.
Take a look at these.
These are more about moving Hitfilm's 3D camera than working with shake, but there's information in here about how an actual camera moves on various rigs from the perspective of someone who moved cameras for a living. I never did do the last one of this series, which will be all about handheld....
thank you @Triem23 i'm always learning something new here and enjoying posting new work at the same time.. I'll watch those videos soon buddy!