If you need to run Camera Tracking, motion tracking or use Mocha AE to do some tracking this always works best if you do the tracking first, finish the composite, then nest the completed comp in a new comp and Warp Stabilize the nested comp.
Most of the footage I've seen that need warp stabilizing need some fine tuning. Warp Stabilizer's default settings only work well for nearly perfect for stabilizing shots. The last point I'm going to make is that not all shots will warp stabilize and most that will an be improved if you learn how to fiddle with the knobs. Once rendered you can get rid of your warp stabilized layer and replace it with the repaired footage. If you are going to do any other processing on the frame that is complicated or has more than one or two applied effects it is almost always a very good idea to render your warp stabilized footage to a suitable production format. You can add a few frames at the head and tail so you'll have a little room to fine tune the final cut, but warp stabilizing an entire shot is almost always, a waste of time, more likely to fail, completely unnecessary. Your footage should be trimmed to just the frames that are going to be used in the final edit. There is one other thing to consider when using warp stabilizer. Any slower than one second of real time for 4 seconds of screen time is awfully hard to pull off without a third-party plug-in like Twixtor.
Any slower than that and it starts to look bad. Slowing down most footage more than 2 frames for 1 so that one second of real time is 2 seconds if screen time is a little dodgy. Then you can use AE's various frame blending modes to try and achieve the best motion. If on the other hand, your original footage was shot at 24 and you want it to slow down you would get better results by using time remapping and some math so you get 2 frames for 1 or 3 frames for 1, or at best 4 frames for each frame. Stretching footage will cause frame blending or frame doubling. Your first step should always be to change the frame rate using File>Interpret Footage>Main. Stretching footage is an inaccurate way to create slow motion. As Byron said, the footage layer you warp stabilize must match the frame rate of the comp. Then you can create a new comp from your footage and run warp stabilizer. If you want to work with 24fps comps then interpret the footage as 24 fps. If your original footage was 120 fps and you want it to playback so that one second of real time is 4 seconds of screen time then interpret the footage as 30fps. If you want to change the frame rate change the interpretation of the footage.
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