A person filmed dead flat still has depth in the picture. Point Burst reads that depth, rebuilds the subject as a cloud of points that each fly out along the surface they came from, and lets the whole thing detonate on the beat before it snaps back to a solid frame. The return is the moment that lands: it reads as the shot pulling itself back together.
This effect wants something near the camera to hold onto. A face, a body, an object in front of a background. Give it that and the depth read separates the subject from the room and only the subject flies. Give it a flat landscape with nothing in front and the burst has nothing to grab, so it reads as noise. That is the one case to avoid.
Drive decides what fires it. Set it to pulse for a beat without a track, audio to bind it to your song, or ambient for a constant slow breathe with no hits. Subject Only keeps the burst on the near subject and leaves the background whole. Density sets how fine the cloud is: higher looks finer but costs more, and the default sits in a good place.
Start from the Beat detonation preset: drive on pulse, two bursts a loop, a hard burst and a real impact on each hit. For something quieter, the Ambient breathe preset holds the cloud open and lets it drift instead of hitting. If you are looping the result, set the loop length to a whole number of beats so the pulse closes cleanly.
Point Burst pairs naturally with a grade. Run Relight under it to light the cloud from one side, or push it toward a night look with Sodium Bloom. Open the tool and try it on your own hook: Point Burst.
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