Removal of a reflection from a camera (on carne) and a sign on a car

Last week I had to "shake off" a reflection of a camera on a red car. The reflection was seen on the back window, on the painted part of the trunk and also on the bumper.  I had never done this before and did some research online and found... NOTHING! - What? EVERYTHING is online, you just have to know how to get it! ...well, I didn't.  This is one of the reasons why I'm writing this right now. Maybe someone can elaborate on this.

Oh, and please correct or optimize my approach, if possible.

See the before/after video here:

https://www.single-eye.de/movies/removal_bna.mov

So here it goes:

The window was only problematic for three frames, so I did the cloning and painting in Photoshop. On the bumper it was not distracting, so I didn't have to worry about that one. The rest meant 'shakin' it.

(FileIn= Suzuki_1_100) I brought in the shot, in this case with handle frames and defined the region (frame #29-#69 out of #1-#100 as given by the offline cut).

I started with the reflection of the camera and crane, as that was the most important.

The reflection moved so that the brand name and logo would conflict, but as they where very bright and almost unaffected, I knew I could bring them back later and didn't worry about them yet.

(Stabilize1) I stabilized the shot beginning at frame #50 forward and backwards with little manual adjustments and some guess-work for the first three frames (#29-#31). I used a 2-point tracker and then applied x/y and scale. Rotate is an option, but wasn't necessary in this case.

(Tracker1) I then tracked the center of the camera reflection. Again some minor manual adjustments had to be made.

(RotoShape1) I shaped a nice Outline around the camera reflection. Frame #50 would give me a good overall outline, which I could later adjust accordingly. With right-clicking on the shape's center applied the 'Tracker1'. Adjusting the outline with a total of eight keyframes (@ #31, #36, #41, #50, #53, #55, #59, #68, #69) gave me an accurate and organic enough movement of the shape.

(Move2D1) With the 'RotoShape1' as a mask input I offset the area of the reflection so I would only see the car's paint. Again I had to make little adjustments by hand, so as not to get other reflections into the area. I tried to make the paint match as close as possible from the beginning, but I still had to adjust this later. I only used panning for this shape and six keyframes did it for me (@ #31, #33, #41, #50, #58, #69).

(Blur1) I now adjusted the edge of the 'RotoShape1' to stretch out as far as possible to make it integrate much smoother. I also applied a blur node to the 'RotoShape1' to get even smoother.