Motion graphics terms, shown live. Prompts, ready to paste.

Flat layers placed at different depths in 3D space are viewed by a camera, so each layer moves differently as the camera moves.

This is for a motion graphics video. Build [scene] with a "2.5D Camera" (also called a multiplane camera or the 2.5D effect): cut the artwork into flat layers, stand them at different depths in 3D space, and move a virtual camera through them.
Each layer should stay a flat card while the layers drift against one another as the camera travels, near ones faster than far ones — sliding a single flat picture sideways would give no depth at all.
Run the camera move over [duration], slow and floating, and let it drift in more than one direction so the space feels real.

The camera on an arm rises or falls along an arc, often with a tilt to hold the subject; broader than a plain pedestal.

This is for a motion graphics video. In [scene], move the camera with a "Crane Shot" (also called a jib shot or boom shot): it sweeps up or down in a wide arc, as if carried on the end of a long arm.
The camera should tilt as it travels so the subject stays held in the frame while the ground and background open up around it — a pedestal only lifts the camera straight up while it stays level.
Run it over [duration], and ease into and out of the sweep so it feels grand and unhurried.

A zoom completed in a few frames so it reads as a sudden jolt rather than a smooth push.

This is for a motion graphics video. In [scene], use a "Crash Zoom" (also called a snap zoom or whip zoom): the lens zooms in on the subject, or back out from it, almost instantly.
It should land as a sudden jolt within a few frames and then hold — a smooth, gradual push would be an ordinary zoom.
The whole beat lasts [duration]; keep the framing still before and after so the snap stands out.

The camera body travels forward or backward so near layers grow faster than far ones; unlike a zoom, the perspective changes.

This is for a motion graphics video. In [scene], move the camera with a "Dolly" (also called a push in, pull out or dolly shot): the whole camera travels toward or away from the subject.
Near layers should grow faster than far ones so the perspective shifts as the camera moves — that is what separates it from a zoom, which scales everything evenly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

Dolly and zoom run in opposite directions so the subject keeps its size while the background stretches or compresses.

This is for a motion graphics video. In [scene], use a "Dolly Zoom" (also called the vertigo effect, a zolly or a Hitchcock zoom): the camera travels toward or away from the subject while the lens zooms the opposite way.
The subject should hold exactly the same size in the frame while the background stretches away or closes in behind it — if the subject changes size, it is only a dolly or a zoom.
Run it over [duration] at an even, deliberate pace so the warping of the space is what the viewer notices.

An aerial camera travels forward above a landscape, then often rises to open the scene behind.

This is for a motion graphics video. In [scene], move the camera with a "Fly-Over" (also called an aerial shot): it travels forward high above the scene, looking down on it.
Everything should stream toward the camera and slip away beneath the bottom of the frame as it is passed over, then the view lifts to open up the scene that lies beyond — a dolly at eye level only brings things closer, it never passes over them.
Run it over [duration] at a smooth, steady speed, like a drone gliding forward.

The camera passes through a gap such as a window or beams, then reveals the subject beyond.

This is for a motion graphics video. In [scene], move the camera with a "Fly-Through" (also called a fly-through reveal): it travels forward through a narrow opening, such as a window, a doorway or a gap between beams.
The opening should fill the view and hide most of what lies beyond, then rush past the edges of the frame as the camera clears it and the subject on the far side comes into full view — a plain dolly only moves closer to something already in the open.
Run it over [duration] as one continuous forward move, and settle gently once the subject is revealed.

The operator carries the camera so the frame has small irregular drift and shake; shaky cam exaggerates it.

This is for a motion graphics video. In [scene], give the camera a "Handheld" feel (also called a handheld shot or shaky cam): it is carried in the operator's hands, so the frame never sits perfectly still.
The whole frame should drift and tremble in small, irregular ways, with the horizon wobbling slightly — never a regular back-and-forth — while a Steadicam shot along the same path would glide without any shake.
Keep it going for [duration]; hold it subtle for documentary realism, or exaggerate it into shaky cam for chaos.

An orbit that also climbs or descends, tracing a helix around the subject.

This is for a motion graphics video. In [scene], move the camera with a "Helix Shot" (also called a helix): it circles the subject while climbing or descending at the same time, tracing a spiral around it.
The subject should hold the centre of the frame while the background slides sideways behind it and the ground opens up or closes in as the height changes — a plain orbit stays at one height.
Run it over [duration] as one continuous spiral, turning and rising at an even pace.

The camera travels on a curve around a centred subject while the background rotates behind it.

This is for a motion graphics video. In [scene], move the camera with an "Orbit" (also called an arc shot): it circles around the subject while staying aimed at it.
The subject should hold the centre of the frame while the background slides one way behind it and anything in front slides the other way — in a truck or a tracking shot, every layer slides the same way.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera pivots left or right on a fixed spot, so everything in frame slides at the same rate with no parallax; unlike a truck, the camera body does not travel.

This is for a motion graphics video. In [scene], move the camera with a "Pan" (also called panning): it turns left or right on the spot.
Everything in the frame should slide sideways together at the same speed, with no depth shift between near and far layers — that is what separates it from a truck.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera body rises or falls with level orientation, so near objects shift more than far ones, which distinguishes it from a tilt.

This is for a motion graphics video. In [scene], move the camera with a "Pedestal" (also called a pedestal rise or boom up/down): the whole camera rises or lowers while staying level.
Near layers should slide vertically faster than far ones so the scene gains depth — that is what separates it from a tilt.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera flies backward and upward from a close subject, widening to show surroundings.

This is for a motion graphics video. In [scene], move the camera with a "Pull-Back Reveal" (also called a dronie or pull-away): it starts close on the subject, then flies backward and upward away from it.
The subject should shrink in the middle of the frame while more and more of its surroundings come into view, until the whole setting is shown — an ordinary dolly out only steps back a little at eye level.
Run it over [duration], starting gently and widening steadily so the scale of the place is the payoff.

The plane of focus shifts from one subject to another within a take, with no camera or framing change.

This is for a motion graphics video. In [scene], use a "Rack Focus" (also called a pull focus or focus pull): the focus shifts from one subject to another at a different depth within the same shot.
Nothing should move and the framing should not change — the sharp subject goes soft while the blurred one turns crisp, which is what separates it from a zoom or a camera move.
The whole beat lasts [duration]; hold on the first subject, shift the focus smoothly, then hold on the second.

The camera rotates around the lens axis so the horizon turns in frame; a held partial roll gives a static Dutch angle.

This is for a motion graphics video. In [scene], move the camera with a "Roll" (also called a Dutch roll or Z-axis roll): it rotates around the lens axis, like turning a steering wheel.
The whole frame should turn around its centre so the horizon tips over, while the camera neither travels nor looks elsewhere; stopping partway leaves a Dutch angle.
Run it over [duration], and ease into and out of the turn so it does not start or stop abruptly.

The camera is rigged to the performer so they stay fixed in frame while the background moves around them.

This is for a motion graphics video. In [scene], use a "Snorricam" (also called a body camera or body cam): the camera is strapped to the performer and faces them.
The subject should stay locked in exactly the same place in the frame while the whole background sways, tilts and swings around them with every step and turn — in a tracking shot the background just streams past evenly.
Keep it going for [duration], and let the surroundings lurch with the subject's movement so it feels dizzy and subjective.

A stabilized operator-carried move that glides and floats through space without handheld shake.

This is for a motion graphics video. In [scene], move the camera with a "Steadicam Shot" (also called a gimbal shot or glide cam): an operator carries it through the space on a stabilizer.
The move should glide and float with no shake at all, free to curve around things as it travels — a handheld shot along the same path would tremble, and a dolly would keep to a straight track.
Run it over [duration] as one long, smooth, unbroken move.

The camera pivots up or down on a fixed spot; unlike a pedestal, the camera body does not rise or fall.

This is for a motion graphics video. In [scene], move the camera with a "Tilt" (also called tilting or pitch): it pivots up or down on the spot.
Everything in the frame should slide vertically together at the same speed, with no depth shift between near and far layers — that is what separates it from a pedestal.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera travels with a moving subject from behind, in front or alongside, keeping a steady distance while the background streams past.

This is for a motion graphics video. In [scene], move the camera with a "Tracking Shot" (also called a follow shot or travelling shot): the camera travels along with a moving subject.
The subject should keep its place and size in the frame while the surroundings stream past, near layers faster than far ones — in a truck, the subject slides across the frame with everything else.
Run it over [duration] at a steady pace that matches the subject, staying the same distance from it.

The camera body slides sideways, so near objects shift more than far ones, which distinguishes it from a pan.

This is for a motion graphics video. In [scene], move the camera with a "Truck" (also called a track or crab shot): the whole camera travels sideways.
Near layers should slide across faster than far ones so the scene gains depth — that is what separates it from a pan.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

A pan fast enough to smear into motion blur; the vertical version is a whip tilt.

This is for a motion graphics video. In [scene], move the camera with a "Whip Pan" (also called a swish pan or flick pan): it snaps sideways so fast that the picture smears.
The frame should streak into motion blur along the direction of the move and land sharp on the new view — an ordinary pan stays readable the whole way. Done vertically, it is a whip tilt.
The whole beat lasts [duration]; hold still before and after so the whip reads as one quick flick.

The lens focal length changes so every layer scales by the same ratio without any parallax; unlike a dolly, the camera does not travel.

This is for a motion graphics video. In [scene], use a "Zoom" (also called a zoom in or zoom out): the lens changes focal length while the camera stays where it is.
Everything in the frame should grow or shrink together by the same ratio, with no depth shift between near and far layers — that is what separates it from a dolly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

Two vertical or horizontal edges move from the center to the sides (or the reverse) like opening barn doors.

This is for a motion graphics video. Join two shots in [scene] with a "Barn Door Wipe" (also called barn doors, a split or a center split): two edges part from the middle of the frame toward the sides and uncover the next shot, like barn doors opening.
Keep both shots still while the edges travel — unlike a push, nothing slides out of the frame, and unlike a plain wipe the reveal starts in the middle and runs both ways at once. For the closing version, bring the edges in from the sides to meet in the middle.
Run the transition over [duration], with both edges moving at the same pace.

A radius sweeps around the center of the frame like a clock hand, uncovering the next shot behind it.

This is for a motion graphics video. Join two shots in [scene] with a "Clock Wipe" (also called a radial wipe): a line sweeps around the center of the frame like a clock hand and uncovers the next shot behind it.
Start the hand at the top and take it once around at a steady pace, with both shots staying put — unlike a plain wipe, the edge turns around a point instead of travelling across the frame.
Run the full turn over [duration].

A cut between two tonally opposite images to emphasize the difference between them.

This is for a motion graphics video. Join two shots in [scene] with a "Contrast Cut": cut straight from one image to its tonal opposite.
Make the two sides differ as much as possible — bright against dark, small against large — and hold each long enough to compare; unlike a smash cut the point is the comparison, not the shock.
Fit both shots into [duration], and put no transition effect on the cut.

Cuts alternating back and forth between two actions happening at the same time in different places.

This is for a motion graphics video. Edit [scene] with a "Cross-Cut" (also called parallel editing or intercutting): cut back and forth between two actions happening at the same time in different places.
Let both actions keep moving forward while they are off screen, so each return picks up later than where it left — unlike a cutaway, which leaves the main action only once and comes back.
Fit the sequence into [duration], and shorten the pieces toward the end if the tension should build.

A shot that briefly leaves the main action to show something else, then returns to the original shot.

This is for a motion graphics video. Add a "Cutaway" to [scene]: cut briefly from the main action to a shot of something else, then cut back to the original shot.
Keep the main action running underneath so it has moved on when we return — unlike a cross-cut, the second shot appears once and is not a storyline of its own.
Fit it into [duration], and keep the cutaway shorter than the pieces of the main shot around it.

The outgoing shot is blurred out of focus and the next shot is pulled into focus, hinting at dreams or time passing.

This is for a motion graphics video. Join two shots in [scene] with a "Defocus Transition" (also called a defocus or blur transition): the outgoing shot drifts out of focus until it is a soft blur, and the next shot is pulled into focus out of that blur.
Swap the shots while the picture is at its softest so the change itself is never seen sharp — unlike a dissolve, the two pictures do not overlap in focus, and unlike a dip to black the screen never goes to a solid color.
Run the transition over [duration], blurring out and focusing in at the same gentle pace.

The outgoing shot fades to a solid color, usually black or white, and the next shot fades in from it.

This is for a motion graphics video. Join two shots in [scene] with a "Dip to Black" (also called a dip to white, wash or washout when the color is white): the outgoing shot fades to a solid color and the next shot fades in from it.
The two shots never overlap, and for a moment in the middle the screen is nothing but the solid color — unlike a plain fade, it carries on into the next shot.
Run the transition over [duration], split evenly between the way out and the way in.

The picture gradually darkens to black or emerges from black, with no second shot overlapping.

This is for a motion graphics video. Close [scene] with a "Fade" (also called a fade out or fade to black): the picture gradually darkens to black.
Fade to plain black with no second shot showing through — unlike a dip to black, it does not carry on into another shot. For a fade in, run it the other way and let the picture emerge from black.
Run the fade over [duration], at an even pace.

A very brief shot, often one to three frames, jammed into the sequence for a near-subliminal jolt.

This is for a motion graphics video. Add a "Flash Cut" to [scene]: jam a shot lasting only a few frames into the sequence, then snap straight back.
It should register as a jolt more than as an image — unlike a cutaway, the viewer gets no time to read it.
Fit the sequence into [duration], and make the inserted shot differ strongly in brightness from the shots around it so the flash is felt.

One shot is instantly replaced by the next with no optical effect; the baseline every other transition is compared against.

This is for a motion graphics video. Join the shots in [scene] with a "Hard Cut" (also called a cut or direct cut): one shot is replaced by the next instantly.
Put no fade, wipe or any other effect on the cut — unlike a smash cut it is not meant to shock, it is just the plain shot change.
Fit the shots into [duration], and place the cut on a beat or a finished movement so it passes unnoticed.

A cut disguised so the viewer does not notice it, often hidden behind a dark object or camera move to fake one continuous take.

This is for a motion graphics video. Hide the join between two takes in [scene] with an "Invisible Cut": disguise the cut so the footage plays as one continuous take.
Let a dark object fill the frame while the camera keeps moving, cut in that moment, and pick up the same movement at the same speed on the other side — unlike a natural wipe, the viewer should not notice that anything changed.
Fit both takes into [duration], and keep the camera speed steady through the hidden cut.

A cut within the same framing that skips a slice of time, so the subject visibly jumps in position while the camera stays put.

This is for a motion graphics video. Edit [scene] with a "Jump Cut": cut forward in time within the same shot.
Keep the camera and framing unchanged and let the subject snap to a later position at each cut, with no transition between the pieces.
Fit the sequence into [duration], and place the cuts on beats so the jumps read as deliberate rather than as glitches.

The next shot appears through the outgoing shot's brightness, so dark (or bright) areas switch over first.

This is for a motion graphics video. Join two shots in [scene] with a "Luma Fade" (also called a luma wipe or gradient wipe): let the next shot come through the outgoing shot according to its brightness, darkest areas first and brightest last.
The change should follow the shapes in the picture — shadows and dark objects turn into the next shot while the bright areas still hold — unlike a dissolve, where the whole frame blends evenly.
Run the transition over [duration], sweeping smoothly from dark to bright with soft edges between the stages.

A cut between two shots whose shape, color, position or action line up, so one visually becomes the other.

This is for a motion graphics video. Join two shots in [scene] with a "Match Cut" (also called a graphic match or match on action): cut between two shots whose shape, position or movement line up.
Put the main shape of the second shot exactly where the first one was, at the same size and moving the same way, so one seems to turn into the other on the cut — with no morph or dissolve between them.
Fit both shots into [duration], and cut in the middle of the shared movement.

The next shot appears through a grid of tiles or patterned cells that flip in a set or random order.

This is for a motion graphics video. Join two shots in [scene] with a "Matrix Wipe" (also called a checkerboard, checker wipe or random blocks): split the frame into a grid of tiles and flip them to the next shot one after another.
Each tile shows its own piece of the new shot so the full picture assembles in place — use a checkerboard order for a patterned look or a random order for a glitchy one, and keep both shots still underneath.
Run the transition over [duration], with every tile flipping quickly and the flips spread evenly across the time.

A run of many short shots in quick succession that compresses time or information into a few seconds.

This is for a motion graphics video. Build [scene] as a "Montage" (also called rapid cuts or dynamic cutting): a run of many short shots in quick succession.
Give every shot a different image and only a moment on screen, joined by plain cuts, so together they compress a long stretch of time — unlike a cross-cut, the shots do not alternate between two fixed actions.
Fit the whole run into [duration], and keep the cutting rhythm steady and on the beat.

A foreground object, such as a wall, a person or a passing vehicle, crosses the lens and hides the cut to the next shot.

This is for a motion graphics video. Join two shots in [scene] with a "Natural Wipe" (also called frame blocking or an invisible wipe): a foreground object passes right in front of the lens and the next shot is already there behind it.
Keep the changeover hidden under the object the whole way across, so the object itself seems to wipe the old shot off — unlike a plain wipe there is no drawn edge, and unlike an invisible cut the viewer is meant to see that the scene has changed.
Run the pass over [duration], with the object moving at a steady, natural speed.

The outgoing shot peels or turns away like a page, uncovering the next shot behind it.

This is for a motion graphics video. Join two shots in [scene] with a "Page Peel" (also called a page curl, or a page turn when the whole side lifts): the outgoing shot lifts from one corner and peels away like a sheet of paper, uncovering the next shot lying underneath.
Show the back of the page as it folds over, and keep the shot underneath still — unlike a plain wipe, the old picture reads as a physical sheet being lifted off.
Run the transition over [duration], easing in as the corner lifts and out as the page leaves the frame.

An instant jump to a tighter frame of the same subject along the same line, with no zoom travel between the two sizes.

This is for a motion graphics video. In [scene], use a "Punch In" (also called a cut-in or axial cut): cut instantly to a tighter frame of the same subject along the same line.
Show no zoom travel between the two sizes and let the action carry on without skipping time — that is what separates it from a zoom and from a jump cut.
Fit it into [duration], and put the cut on the word or detail that should get the emphasis.

A dissolve with a wavering, water-like distortion on the picture, traditionally signalling a flashback or imagined event.

This is for a motion graphics video. Join two shots in [scene] with a "Ripple Dissolve": dissolve from one shot to the next while the picture wavers like the surface of water.
Let the ripple build up on the outgoing shot, hold through the overlap and settle on the incoming one — unlike a plain dissolve the picture bends while it blends, and unlike a defocus transition it stays sharp.
Run the transition over [duration], with the waves flowing gently in one direction.

The incoming shot slides over the outgoing one while the old shot stays put.

This is for a motion graphics video. Join two shots in [scene] with a "Slide" (also called a band slide): the incoming shot slides in from one edge and covers the outgoing one.
Keep the outgoing shot where it is while it gets covered — unlike a push, it is not shoved out of the frame.
Run the transition over [duration], and ease it in and out so the new shot settles instead of stopping dead.

An abrupt cut from one scene to a sharply contrasting one with no lead-in, used for shock or a punchline.

This is for a motion graphics video. Join two shots in [scene] with a "Smash Cut" (also called a Gilligan cut or bicycle cut): cut abruptly from a quiet shot to a sharply contrasting one.
Give no lead-in — hold the calm shot, then land in the middle of loud, fast action with no fade or build-up; unlike a plain hard cut, the jolt is the point.
Fit both shots into [duration], and let the quiet shot run a little longer than feels comfortable before the cut.

A growing or shrinking star-shaped mask carries the next shot in.

This is for a motion graphics video. Join two shots in [scene] with a "Star Wipe" (also called a shape wipe, or a heart wipe when the shape is a heart): a star-shaped opening grows from the middle of the frame and brings the next shot in through it.
Keep the edge of the star crisp and both shots still, and let the shape grow until it clears every corner — unlike an iris wipe, the opening is a recognizable shape rather than a circle.
Run the transition over [duration], starting slowly so the shape reads before it fills the frame.

Parallel strips reveal the next shot, like slats of window blinds turning open.

This is for a motion graphics video. Join two shots in [scene] with a "Venetian Blinds" transition (also called a band wipe): a set of parallel strips opens across the frame and reveals the next shot, like the slats of window blinds turning open.
Make the strips equal in width and open them all at the same time — unlike a plain wipe, no single edge travels across the frame, and both shots stay put.
Run the transition over [duration], with every strip opening at the same pace.

The outgoing shot zooms rapidly toward a point and the incoming shot zooms out from a similar point, as if flying through the cut.

This is for a motion graphics video. Join two shots in [scene] with a "Zoom Transition" (also called a zoom in/out transition): the outgoing shot zooms rapidly toward a point and the incoming shot comes out of the same point, as if flying through the cut.
Keep the zoom going in one direction across both shots and hide the cut at its fastest moment — unlike a punch in, the travel between the sizes is shown, and unlike a camera zoom it ends in a different shot.
Run the transition over [duration], speeding up into the cut and slowing down out of it.

The pose updates only every 2 or 3 frames, giving a choppier hand-drawn rhythm than every-frame (ones) motion.

This is for a motion graphics video. Animate [scene] by "Animating on Twos" (also called on twos or held frames): hold each pose for two frames, so the picture updates half as often as the video plays.
The motion should keep its path and overall speed but advance in small, even jerks, like hand-drawn or stop-motion animation — not a few big jumps with long pauses, which would be a stepped ease.
Keep it up for [duration], and hold each pose one frame longer (on threes) if it should feel choppier still.

A small move in the opposite direction before the main move, like a wind-up; the start-of-move counterpart of Overshoot.

This is for a motion graphics video. Start the move in [scene] with "Anticipation" (also called a wind-up or back in): the object first pulls back a little in the opposite direction, then launches into the main move.
The pull-back belongs to the start, before the object leaves — it is the mirror of an overshoot, which runs past the target at the end.
Fit the wind-up and the move into [duration], keeping the pull-back small and unhurried so the launch that follows feels fast.

The object follows a curved trajectory instead of a straight line; compare with a straight A-to-B move.

This is for a motion graphics video. Move the object in [scene] along "Arcs" (also called arc motion or a curved path): it travels from one position to the next on a curved trajectory instead of a straight line.
The start and end points stay where they are — only the path between them bends, the way a thrown ball or a swinging arm moves, where a straight A-to-B move looks mechanical.
Fit the move into [duration], and keep the curve one smooth sweep with no kinks along the way.

The object hits the target like a ball hitting the floor and rebounds with smaller hops until it rests; differs from Elastic by a hard stop at each contact.

This is for a motion graphics video. End the move in [scene] with a "Bounce" (also called a bounce ease or bounce out): the object hits its target like a ball hitting the floor and rebounds in smaller and smaller hops until it rests.
It should never pass through the target — each contact is a hard stop that turns it straight back, unlike an elastic ease, which swings past the target on both sides.
Fit the move and its hops into [duration], and make each hop clearly shorter than the one before.

The motion repeats from the start; in a seamless loop the end state matches the start so no restart is visible.

This is for a motion graphics video. Repeat the motion in [scene] as a "Cycle Loop" (also called a loop or repeat): each time it reaches the end, it starts again from the beginning.
It should jump back to the start rather than play backwards, which would be a ping-pong loop. For a seamless loop, make the last frame match the first so the restart cannot be seen.
Keep it looping for [duration]; if each repeat should carry on from where the last one ended instead of returning to the start, make it an offset loop.

Starts slowly and accelerates toward the end, so the object leaves at full speed; opposite of Ease Out.

This is for a motion graphics video. Animate the move in [scene] with an "Ease In" (also called slow in, or accelerating): it starts slowly and keeps speeding up, so the object is at full speed when the move ends.
Do not soften the end — that is an ease out, the opposite curve, which starts fast and settles gently.
Fit the move into [duration]; it suits an object leaving the frame, since it is never seen stopping.

Slow start, fast middle, slow stop; differs from Ease Out by also accelerating gently at the start.

This is for a motion graphics video. Animate the move in [scene] with an "Ease In-Out" (also called easy ease, or slow in and slow out): it starts slowly, is fastest through the middle, and slows to a soft stop.
Both ends should be gentle — unlike an ease out, which starts at full speed and only softens the stop.
Fit the move into [duration], and pick a stronger curve if the middle should feel like a quick snap between two rests.

Starts fast and decelerates to a soft stop; the object arrives already moving and settles gently, opposite of Ease In.

This is for a motion graphics video. Animate the move in [scene] with an "Ease Out" (also called slow out, or decelerating): it starts at full speed and slows down steadily into a soft stop.
Do not soften the start — the object should already be moving when it appears, unlike an ease in-out, which also builds up speed gently.
Fit the move into [duration]; it suits an element entering the frame and settling into place.

Not a single look but the idea that speed changes over a move; compare with Linear to see eased motion feel natural instead of mechanical.

This is for a motion graphics video. Give every move in [scene] "Easing" (also called a timing curve or speed curve): let the speed change over the course of each move instead of staying constant.
Constant-speed (linear) motion looks mechanical; eased motion gathers speed and slows down the way real things do — ease out for things arriving, ease in for things leaving, ease in-out for moves that stay on screen.
Keep each move within [duration], and use the same family of curves throughout so the piece feels consistent.

Oscillates around the target several times with fading amplitude, like a stretched rubber band let go; more wobbles than Overshoot.

This is for a motion graphics video. Animate the move in [scene] with "Elastic" easing (also called an elastic ease or elastic out): the object snaps to its target and wobbles back and forth around it, each swing smaller, like a stretched rubber band let go.
It should cross the target several times — an overshoot passes it only once, and a bounce never passes it at all.
Fit the move and the wobble into [duration], and let the wobble die out fully before the end.

A real movement pushed to more extreme scale or timing than realism; visible only as an intensity choice against a realistic version.

This is for a motion graphics video. Animate [scene] with "Exaggeration": take the movement as it would really happen and push it further — a bigger wind-up, a longer stretch, a harder stop.
It is the same action with the intensity turned up, not a different one: keep the path and the order of events, and enlarge how far and how sharply each of them goes.
Fit it into [duration], and stop just short of the point where the object is no longer recognizable — it should feel cartoony and playful, not broken.

Loosely attached parts keep moving or trail behind after the main body stops or starts, so parts do not all move and stop together.

This is for a motion graphics video. Animate [scene] with "Follow Through and Overlapping Action" (also called drag or lag): the loosely attached parts trail behind when the main body sets off, and keep going, swing past and settle after it has stopped.
The parts must not all move and stop together. They are passive — pulled along by the body — unlike a secondary action, which is a small separate gesture playing alongside the main one.
Fit the move and the settling into [duration], and let longer or lighter parts lag further and take longer to come to rest.

Outlines tremble slightly frame to frame as if redrawn each time, giving a lively handmade look even when the shape stays still.

This is for a motion graphics video. Give the outlines in [scene] a "Line Boil" (also called boiling lines or wiggly lines): redraw every line slightly differently every few frames, so it trembles in place even while the shape itself stays still.
It should change in small sudden steps at a low frame rate, like flipping through hand-traced drawings — not flow smoothly, which reads as liquid, and not shift the whole shape around, which is a wiggle.
Keep it boiling for [duration], and keep the tremble small enough that the shape stays easy to read.

The object passes its target slightly and then returns to it; differs from Bounce in that it makes one pass and settles without hitting a floor.

This is for a motion graphics video. End the move in [scene] with an "Overshoot" (also called a back ease or back out): the object runs slightly past its target, then comes back and settles on it.
It should pass the target only once, with no wobble afterwards — a bounce hits the target and rebounds without passing it, and an elastic ease swings past it several times.
Fit the move into [duration], and keep the overshoot small so it reads as energy rather than a mistake.

The motion plays forward then in reverse repeatedly; differs from Cycle Loop by not jumping back to the start.

This is for a motion graphics video. Repeat the motion in [scene] as a "Ping-Pong Loop" (also called a yoyo or boomerang): it plays forward to the end, then plays in reverse back to the start, and keeps going back and forth.
It should never jump — a cycle loop snaps back to the first frame and restarts, while this one retraces its own path.
Keep it going for [duration], with a soft turn at each end so the change of direction feels like breathing rather than hitting a wall.

A smaller supporting motion plays alongside the main one to add life without stealing focus.

This is for a motion graphics video. Add a "Secondary Action" to the main motion in [scene]: a smaller supporting movement that plays alongside it — a small accent, a blink, a flick — to give it more life.
It is a little gesture of its own, not a loose part dragged along behind the body (that is follow through), and it must never pull attention away from the main action.
Fit both into [duration], and let the small movement begin and end inside the main one.

One or two in-between frames distort or duplicate the subject along its path to fake motion blur during a very fast move.

This is for a motion graphics video. Use a "Smear Frame" (also called a smear or an elongated in-between) for the fast move in [scene]: for just a frame or two in the middle of the move, stretch the subject along its path so that it bridges the gap between the two positions.
The shape itself is redrawn — stretched, repeated as multiples, or trailed by motion lines — rather than blurred the way a camera would blur it, and the frames before and after stay sharp and undistorted.
Keep the whole move inside [duration] and very quick, so the smear is felt as speed rather than noticed as a shape.

Physics-driven motion that overshoots and oscillates around the target before resting; behavior comes from stiffness, damping and mass rather than a fixed curve.

This is for a motion graphics video. Drive the move in [scene] with a "Spring" (also called a spring animation or damped spring): a simulated spring pulls the object to its target, so it picks up speed from rest, runs past the target and swings around it before resting.
The motion should come from stiffness, damping and mass rather than a fixed curve — lower the damping for more swings, or raise it until the object settles with no overshoot at all.
Let it come to rest within [duration], and keep the same spring settings on every element so they feel like one material.

The object compresses and elongates while keeping its volume, conveying weight and flexibility.

This is for a motion graphics video. Animate [scene] with "Squash and Stretch": the object flattens when it lands or is hit, and elongates along its direction of travel while it moves fast.
Keep its volume constant — when it gets wider it must get shorter, and the reverse — and tie every change of shape to the movement, so it reads as weight and flexibility rather than a rubber-band wobble played on the spot.
Fit the action into [duration], and deform it a lot for something soft and only slightly for something stiff.

The value jumps in discrete steps (or once, for a hold) instead of moving smoothly; a hold is one instant snap that then stays put.

This is for a motion graphics video. Animate the change in [scene] with "Steps" (also called a stepped ease or hold keyframes): the value jumps from one position to the next in a few discrete steps and stays still in between, with no smooth in-between motion.
For a hold, make it a single jump — the object stays put, snaps to the new value in one instant and stays there. These are a few deliberate jumps, not the fine frame-by-frame choppiness of animating on twos.
Spread the jumps evenly over [duration].

Randomized small offsets at a set frequency and amplitude make the object tremble or drift irregularly rather than along a designed path.

This is for a motion graphics video. Add a "Wiggle" (also called jitter or a random shake) to the element in [scene]: it keeps straying from its place by small random amounts, at a steady rate and within a steady range.
The offsets must be irregular — an even side-to-side swing is a shake, not a wiggle — and only this element moves, not the whole frame as with a handheld camera.
Keep it going for [duration], wiggling its position — or its rotation or scale instead, if that suits the element better.

Text with real depth thickness rotates or flies in 3D space so its sides catch light.

This is for a motion graphics video. Title [scene] with "3D Extruded Text" (also called 3D text animation or an extruded title): the letters have real thickness, and they rotate or fly through 3D space so their sides catch the light.
Shade the sides differently from the faces and let that shade change as the text turns — the depth has to read as a solid block, not as a flat drop shadow behind the letters.
Play the move over [duration], and ease into a final angle where both the faces and the sides are visible.

A line extends from a point of interest to a label or box that pops in, pointing out part of the picture; distinct from Lower Third because it targets a spot inside the image.

This is for a motion graphics video. Add a "Callout" (also called a callout line or a sketch callout) to [scene]: a line extends from a point of interest in the picture to a label that pops in at its end.
Anchor the line on the exact spot it is about, draw the line first and bring the label in after — unlike a lower third, which sits in a fixed strip at the bottom, a callout points at something inside the image. For a sketch version, draw a ring around the spot and the line as if by hand.
Play it over [duration], keep the line thin so it does not hide the picture, and hold the label long enough to read.

A circle or ring expands quickly from a point and fades, adding an accent behind an arriving element.

This is for a motion graphics video. In [scene], accent an arriving element with a "Circle Burst" (also called a circle pop or ring burst): a ring expands quickly from the element's center and fades away behind it.
Let the ring thin out as it grows and be gone by the time the element has settled — unlike a line burst, the accent is one closed ring, not separate strokes shooting outward.
Fit it into [duration], fast at the start and easing out, and fire it at the moment the element appears.

A flat column of names scrolls steadily upward (or sideways for staff rolls) at constant speed.

This is for a motion graphics video. End [scene] with a "Credit Roll" (also called a credit crawl, staff roll or end credits scroll): a flat column of names scrolls steadily up the frame.
Keep the speed constant from start to finish and the text flat and the same size all the way — unlike a title crawl, nothing tilts back or shrinks into the distance. For a staff-roll version, run the names sideways across the frame instead.
Run it over [duration], slow enough that each line can be read as it passes.

The full caption stays on screen while each word lights up as it is spoken; distinct from Pop Captions because the text never appears or disappears word by word.

This is for a motion graphics video. Caption [scene] with "Karaoke Captions" (also called word highlight captions or karaoke subtitles): the whole caption stays on screen and each word lights up as it is spoken.
Only the highlight travels from word to word — unlike pop captions, no word appears or disappears. Mark the spoken word with a color change, a block behind it, a slight scale-up or a small bounce.
Time the highlights to the speech across [duration], and keep the caption in the lower part of the frame, clear of the subject.

Short strokes radiate outward from a point or element, then retract or fade; used as an accent when something pops in.

This is for a motion graphics video. In [scene], accent an arriving element with a "Line Burst" (also called a radial line burst or shape burst): short strokes shoot outward from around the element, then retract or fade.
Space the strokes evenly around the element, and let each one grow from its inner end and vanish toward its outer end — unlike a circle burst, the accent is a ring of separate rays, not one closed circle. For a polygon version, throw small shapes outward instead of strokes.
Fit it into [duration], quick and snappy, and fire it at the moment the element pops in.

A chart line is drawn along its data points from left to right, markers popping at each point.

This is for a motion graphics video. In [scene], show a trend with a "Line Chart Draw" (also called a line graph draw-on): the chart line draws itself from left to right along its data points, and a marker pops in at each point as the line reaches it.
Keep the axes and gridlines still and already in place, so only the line and its markers move — unlike a map route, nothing travels along the line; each marker stays on its own data point.
Draw it over [duration] at a steady pace, and time each marker's pop to the moment the line arrives.

Shapes and text stretch, ripple and flow like water with smooth wobbling edges; distinct from Blob Morph because it warps real artwork rather than a standalone shape.

This is for a motion graphics video. In [scene], animate the artwork with "Liquid Motion" (also called liquid animation, fluid motion or fluid simulation): the shapes and text stretch, ripple and flow like water, with smooth wobbling edges.
Warp the actual artwork rather than a separate blob — let each part squash and stretch as if it had volume, throw off drops that fall back and merge, and cling to its neighbors for a moment when they touch.
Play it over [duration], and let the wobble die down gradually until the artwork is sharp and still again.

Elements fly or drift in and converge to resolve into the final logo; distinct from a plain reveal because the logo is assembled at the end of the movement.

This is for a motion graphics video. Bring the logo into [scene] with a "Logo Resolve": separate elements fly or drift in from different places and converge until they lock together as the finished logo.
Keep the logo unreadable until the very end — unlike a plain logo reveal, where the mark is uncovered in place, here it only exists once the last piece has arrived. Start the pieces scattered, turned and at different sizes, and stagger their arrivals.
Spend most of [duration] on the convergence, then let the assembled logo settle and hold.

A short sequence that transitions to a brand mark with motion; the umbrella term for most logo animations, with bumper and ident being the short placement formats.

This is for a motion graphics video. Land [scene] on the brand mark with a "Logo Reveal" (also called a logo sting, logo intro, logo animation, ident, logo bumper, logo build or logo assemble): a short sequence in which the logo appears with motion and then holds.
Pick one treatment and stay with it — a clean wipe and slide, particles gathering into the mark, a liquid splash it rises out of, a glitch that snaps into place, neon tubes flickering on, or a 3D orbit that swings round to face the viewer. Unlike a logo resolve, the logo is uncovered where it stands rather than assembled from pieces that fly in.
Keep the whole reveal within [duration], and leave the finished logo still on screen long enough to register.

A name or title graphic slides, wipes or fades into the lower part of the frame, holds, then animates out without covering the main picture.

This is for a motion graphics video. Add a "Lower Third" (also called a chyron, name strap, super, aston or CG) to [scene]: a name and title graphic animates into the lower part of the frame, holds, then animates out.
Keep it in the bottom strip and off to one side so it never covers the main picture — unlike a callout, it does not point at anything inside the image. Bring it in with a slide or wipe, and take it out the same way in reverse.
Fit the in, the hold and the out into [duration], with the hold long enough to read both lines.

A line draws itself along a route between places on a map while a marker travels along it.

This is for a motion graphics video. In [scene], trace a journey with a "Map Route" (also called a map route animation or travel route): a line draws itself along the route between two places on a map while a marker travels along it.
Keep the marker on the leading tip of the line and turn it to face the way it is heading through every bend — unlike a line chart draw, there are no axes or data points, just one traveler moving from place to place.
Run the trip over [duration], easing out of the start and into the arrival, and mark the destination when the marker gets there.

A flat layer such as a screen or card is tilted back in 3D so it recedes toward one edge and gains depth; the layer tilts, not the camera.

This is for a motion graphics video. In [scene], give a flat screen or card a "Perspective Tilt": it leans back in 3D so one edge recedes into the distance and the layer gains depth.
Tilt the layer itself and leave everything behind it exactly where it is — unlike a camera tilt, the rest of the picture must not move. Let the far edge shrink and the near edge grow so the perspective reads clearly.
Ease the tilt in and out over [duration], and stop at an angle where the content on the layer is still readable.

Captions appear one word or short phrase at a time, each popping in as spoken and replacing the last.

This is for a motion graphics video. Caption [scene] with "Pop Captions" (also called build captions or word-by-word captions): show one word or short phrase at a time, each popping in as it is spoken and replacing the last.
Keep every word in the same spot so the eye never has to travel — unlike karaoke captions, the full sentence is never on screen at once. Give each word a quick scale-up with a slight overshoot.
Time the words to the speech across [duration], and keep them large, bold and clear of the subject.

An element scales up from zero with a slight overshoot and settles; the energetic arrival used for words and shapes alike.

This is for a motion graphics video. In [scene], bring an element on with a "Pop-In" (also called a scale pop, pop, text pop or line pop): it scales up from nothing, overshoots slightly and settles at full size.
Scale it from its own center, in place, and keep the overshoot small so it reads as a springy arrival — nothing flies or slides in from elsewhere. Use the same move for a word, a shape or a line; a line pops along its length.
Fit each pop into [duration], fast out of the gate and quick to settle, and stagger several elements so they arrive one after another.

Many lines of text, comments or raw data cascade, scroll or rain across the screen as a texture.

This is for a motion graphics video. Fill [scene] with "Streaming Text" (also called text rain or a data cascade): many lines of text, comments or raw data pour across the screen and read as a moving texture.
Layer lines of different sizes moving at different speeds so the field has depth, and never pause on any single line — nobody is meant to read it, only to feel the volume.
Run it for [duration] at a steady flow, and keep it dim enough to sit behind whatever is in front.

One word or letter transforms into another by changing shape, font or weight in place rather than swapping.

This is for a motion graphics video. In [scene], turn one word or letter into another with a "Text Morph" (also called text morphing, fluid typography or liquid morphing text): the letterforms reshape in place until they have become the new ones.
Carry every stroke continuously from its old shape to its new one — nothing fades out, cuts or swaps, so the viewer watches one form become the other. Morph letter to letter, shift the weight or font of the same word, or let the shapes melt together and set again like liquid.
Fit the change into [duration], and hold each word long enough to read before and after the morph.

Text sits on a curved path and travels along it, entering, swirling and leaving while following the curve.

This is for a motion graphics video. In [scene], animate a line of "Text on Path" (also called text path animation or text along path): the text sits on a curved path and travels along it, entering, swirling through the bends and leaving.
Keep every letter standing on the curve and turning with it as it goes, so the line of text bends like a ribbon instead of sliding across as a rigid block.
Run the pass over [duration] at an even flow, and keep the path one smooth, sweeping curve so the letters stay readable through the bends.

Paragraphs of text scroll up and tilt back in perspective, shrinking toward a vanishing point; distinct from Credit Roll, which stays flat.

This is for a motion graphics video. Open [scene] with a "Title Crawl" (also called an opening crawl, roll-up or scrolling typography): paragraphs of text scroll up while tilted back in perspective, shrinking toward a vanishing point.
Lay the text on a plane that leans away from the viewer, so lines enter large at the bottom and fade out small in the distance — unlike a credit roll, which stays flat and the same size all the way up.
Run it over [duration] at a steady pace, slow enough that each line can be read before it recedes.

Bars, lines or shapes move in time with the loudness and frequency of a sound track.

This is for a motion graphics video. Add an "Audio-Reactive Visualizer" (also called an audio visualizer, music visualizer, audio spectrum or waveform animation) to [scene]: bars, lines or shapes that move in time with the sound track.
Drive the motion from the audio itself — louder moments push the shapes further and different frequencies move different parts — so every beat lands as a visible jump and quiet passages settle down; an equalizer that just pulses on a fixed rhythm is not reacting to anything.
Keep it running for [duration], with a quick rise on each hit and a slower fall after it.

Bright areas bleed a soft halo into their surroundings, and the halo can pulse so objects, text or shapes seem to emit light.

This is for a motion graphics video. Add a "Bloom" (also called a glow effect) to the bright parts of [scene]: let their light spill past their edges as a soft halo, so they look like they are emitting light.
The halo belongs to the bright object and travels with it, fading out smoothly with no hard edge — unlike a light leak, which washes in from the frame edge, or a lens flare, which adds rings and streaks.
Hold it for [duration] and let the halo breathe gently, swelling and easing back like a slow pulse.

Time appears nearly stopped while the viewpoint sweeps around the frozen action; unlike Freeze Frame the camera keeps moving.

This is for a motion graphics video. In [scene], use "Bullet Time" (also called a time slice or frozen moment): at the peak of the action time all but stops while the camera sweeps around the subject.
The subject should hang almost motionless while near and far layers slide past each other as the viewpoint travels — if the camera stops too, it is only a freeze frame.
Give the whole beat [duration]: hit the stop abruptly, then keep the sweep smooth and steady.

A still photograph in which only one element moves in a seamless loop, so the rest of the frame stays frozen.

This is for a motion graphics video. Turn [scene] into a "Cinemagraph" (also called a video snapshot): a still photograph in which only one element keeps moving.
Hold everything else perfectly frozen and let that single element repeat in a seamless loop, with no visible jump where it starts over — if nothing moves at all, it is only a freeze frame.
Let the loop run for [duration], and pick a small, naturally repeating motion so the stillness around it stands out.

Video compression is exploited (I-frames removed) so the next clip's motion drags and melts the pixels of the one before it, producing smeared, bleeding blocks.

This is for a motion graphics video. At the cut between the two shots in [scene], use a "Datamosh" (also called datamoshing): instead of switching cleanly, let the old picture stay on screen and be pushed around by the motion of the new shot, as if the compressed video had lost its keyframe.
The leftover image should smear and bleed in blocks along the direction things move, melting away piece by piece until the new shot is fully there — a slow melt at a cut, unlike a glitch, which tears for an instant and snaps back.
Let the melt play out over [duration], then leave the new shot clean.

The picture wavers as if seen through hot air or water because pixels are pushed around by a moving noise map.

This is for a motion graphics video. Add a "Displacement Distortion" (also called heat haze, heat shimmer or turbulent displacement) to [scene]: make the picture waver as if seen through hot air, by pushing its pixels around with a noise map that keeps drifting.
Everything stays where it is and only bends and wobbles softly in place; the shot does not change, which is what separates it from a ripple dissolve.
Keep it shimmering for [duration], with the noise rising slowly so the wobble never repeats or freezes.

Copies of earlier frames are blended behind the current one so a moving subject leaves a fading trail of itself; differs from Motion Blur in that the copies stay distinct instead of smearing continuously.

This is for a motion graphics video. Add an "Echo" (also called ghosting, trails or motion trails) to the moving subject in [scene]: copies of its earlier frames linger behind it and fade away.
Each copy should stay a separate, readable ghost stepping back along the path, fainter the older it is — a continuous smear would be motion blur.
Run it over [duration], and let the trail catch up and vanish once the subject comes to rest.

Footage plays back at a constant speed faster than real time so movement looks hurried or comic; unlike Time-Lapse it is just sped-up continuous footage, not frames sampled at long intervals.

This is for a motion graphics video. Play [scene] in "Fast Motion" (also called undercranking).
Run the continuous footage at one constant speed, faster than real time, so the action looks hurried and a little comic but still flows smoothly — a time-lapse would skip long gaps between frames instead.
Fit the whole action into [duration] without changing speed along the way.

Moving footage suddenly stops on a single frame that is held like a photograph; differs from Bullet Time because nothing continues to move.

This is for a motion graphics video. Stop the action in [scene] with a "Freeze Frame" (also called a stop-frame or hold frame): the moving footage halts on a single frame and holds like a photograph.
Nothing at all should move during the hold, neither the subject nor the camera — if the viewpoint keeps travelling around the frozen moment, that is bullet time.
The whole beat lasts [duration]; cut into the hold abruptly, mid-action, and leave it long enough to read.

The picture briefly breaks like a digital or analog error, with distortions, pixelation and abrupt shifts; the broad umbrella that includes RGB Split and Datamosh.

This is for a motion graphics video. Hit [scene] with a "Glitch Effect" (also called a digital glitch, glitch art or a glitch transition): for a moment the picture breaks like a signal error, then snaps back as if nothing happened.
Tear it into horizontal bands that jump sideways, split the colours on the torn parts, drop in a few stray blocks and jolt the whole frame — changing abruptly from frame to frame, never smoothly. It comes in short bursts; a constant worn texture would be a VHS look instead.
Keep each burst brief within [duration], and avoid flashing the whole frame bright and dark.

A time-lapse in which the camera also travels a long distance between frames, so the viewer glides rapidly through space; a tripod time-lapse stays in place.

This is for a motion graphics video. Show [scene] as a "Hyperlapse": a time-lapse in which the camera itself travels a long way between frames.
The viewer should glide rapidly through the space toward a fixed point while the surroundings stream past in small steps and the light changes as time races by — a tripod time-lapse would stay in one spot.
Cover the whole route in [duration], and keep the target locked in the same place in the frame so the ride feels smooth.

A slice of the image is mirrored and rotated into a symmetric radial pattern that spins and morphs as the source moves.

This is for a motion graphics video. Apply a "Kaleidoscope" (also called the kaleidoscope effect) to [scene]: one wedge-shaped slice of the picture is mirrored and repeated around the center of the frame.
The result should be a symmetric radial pattern in which every wedge is the mirror image of its neighbors, and the pattern should turn and reshape itself as the source footage moves underneath — a frame that shrinks into itself over and over is video feedback, not this.
Keep it running for [duration], and let the pattern rotate slowly so it never sits still.

Starbursts, rings and streaks of scattered light appear and slide as a bright source passes the lens, added digitally to graphics and footage.

This is for a motion graphics video. Add a "Lens Flare" to [scene]: as a bright light source crosses the frame, show the light scattering inside the lens — a starburst and a long streak on the source itself, and a chain of rings and soft discs strung along the line from the source through the centre of the frame.
The chain must slide as the source moves, with the far ghosts travelling the opposite way — that sliding, shaped light is what separates it from a light leak, which is only a shapeless wash from the edge.
Let the source pass through over [duration], and fade the flare in and out as it enters and leaves the frame.

Soft warm washes of orange, red or magenta light bloom in from the frame edges and drift or flicker, imitating stray light hitting film; unlike Lens Flare it has no rings or starbursts.

This is for a motion graphics video. Lay a "Light Leak" (also called a film burn) over [scene]: a soft, warm wash of orange, red or magenta light that blooms in from the edge of the frame, as if stray light had reached the film.
Keep it shapeless and blurry, attached to the frame rather than to anything in the picture, with no rings, streaks or starbursts — those belong to a lens flare. The footage keeps playing underneath.
Over [duration], let it swell in from one edge, drift a little, and fade away again.

One image or shape smoothly warps into another while cross-dissolving.

This is for a motion graphics video. In [scene], use "Morphing" (also called an image morph or morph): one subject smoothly warps into another while the two pictures cross-dissolve.
The outline should bend continuously from the first shape into the second as the surface blends between them, so it reads as one thing transforming — a plain dissolve would only fade one picture over the other without reshaping anything.
Give the change [duration], and hold on each subject before and after so the viewer can read what it turned into.

Fast-moving objects are smeared along their path as if shot with a longer exposure, which makes quick motion look smooth; unlike Echo it is a continuous streak, not separate copies.

This is for a motion graphics video. Add "Motion Blur" (also called motion smear) to the fast moves in [scene]: whatever moves quickly should streak along its own path, as if the shutter stayed open while it travelled.
Blur only the things that are moving, in the direction they move, as one continuous streak that grows with speed — not separate trailing copies, which is an echo, and not the whole frame, which is a whip pan. Anything holding still stays sharp.
Keep it on for [duration], with a wide shutter angle for long soft streaks or a narrow one for short crisp ones.

A small inset video window plays over the main picture and can be moved or resized.

This is for a motion graphics video. Add a "Picture-in-Picture" (also called PiP or TV in TV) to [scene]: a small inset window plays a second video over the main picture.
Both pictures should keep playing at the same time, and the main one still fills the whole frame behind the window — if the frame is divided into panels that sit side by side, that is a split screen.
Over [duration], bring the window in at a corner, then move or resize it so it stays clear of what matters in the main picture.

The image is broken into large visible squares; animating the block size makes it resolve into or dissolve out of coarse pixels. Static pixelation alone is the censor-mosaic look.

This is for a motion graphics video. "Pixelate" [scene] (also called a mosaic or pixelation): break the picture into a grid of large flat squares, each filled with the single colour of what lies under it.
Animate the block size in clear steps — let the sharp picture dissolve into coarse blocks, hold there while the footage keeps playing underneath, then resolve back to sharp. Held at one block size with no change, it is only a censor mosaic.
Run the whole effect over [duration], and keep the squares aligned to one fixed grid so they do not swim.

Footage plays backwards so broken things reassemble and movements undo themselves.

This is for a motion graphics video. Play [scene] in "Reverse Motion" (also called reverse or reverse action): the footage runs backwards.
Every movement should undo itself along exactly the path it took — what fell rises again, what scattered comes back together — at the pace it originally happened.
Fit it into [duration], and add no easing of your own so it reads as time rewinding rather than a new move.

The red, green and blue channels are offset so colored fringes appear on edges, often pulsing or snapping on hits; borrowed from a lens defect and used as a style.

This is for a motion graphics video. Add an "RGB Split" (also called chromatic aberration, color fringing or a channel split) to [scene]: slide the colour channels apart sideways so every edge picks up a coloured fringe on each side.
That is the whole effect — the picture itself stays intact and in place. Nothing tears, jumps or breaks into blocks, which would make it a full glitch.
Over [duration], snap the channels apart on each hit and let them drift back together, ending perfectly aligned.

A ring or dome races outward from an impact point, often distorting the picture behind it as it passes.

This is for a motion graphics video. Add a "Shockwave" (also called a shock wave) to the impact in [scene]: a ring races outward from the point of the hit.
As it passes it should bend and push the picture behind it, then thin out and fade — a ring that only decorates an element and leaves the picture untouched is a circle burst.
Fire it on the exact frame of the impact and let it cross the frame within [duration], fast at first and slowing as it spreads.

Light or imagery is stretched into long, flowing streaks as the picture is exposed through a moving slit, giving a psychedelic tunnel of color.

This is for a motion graphics video. Give [scene] a "Slit-Scan" look (also called the star gate effect): the picture is exposed through a narrow slit that travels across the frame, so each strip of the image comes from a different moment.
Whatever moves should stretch into long, flowing streaks that bend along its path, while whatever holds still stays sharp — separate ghost copies would be an echo, and an even smear along the direction of travel is motion blur.
Let the streaks build and resolve over [duration], and move the slit at a steady pace so the stretch stays continuous.

Action plays back at a constant speed slower than real time so detail and weight become visible; differs from Speed Ramp in that the speed does not change.

This is for a motion graphics video. Play [scene] in "Slow Motion" (also called slo-mo or overcranking).
Hold one constant speed, slower than real time, from the first frame to the last so weight and detail become visible — if the speed changes partway through, that is a speed ramp.
Stretch the moment across [duration], and keep the motion smooth with no stutter between frames.

Playback speed glides smoothly between very different speeds inside one shot (e.g. slow, then a sudden rush, then slow again), unlike slow motion or fast motion which hold one constant speed.

This is for a motion graphics video. Apply a "Speed Ramp" (also called speed ramping or time remapping) to [scene].
Start slow, surge to fast through the middle, then settle back to slow, changing speed smoothly rather than in steps.
Fit it into [duration], and put the fast stretch on the part you want to rush through so the slow parts land on what the viewer should notice.

The frame is divided into two or more panels that show simultaneous actions or viewpoints, optionally animating the dividers in or out.

This is for a motion graphics video. Show [scene] as a "Split Screen": the frame is divided into panels, each playing its own picture at the same time.
Every panel should hold a different action or viewpoint and keep moving, with clean dividers between them and no picture covering another — a small window floating over one full-frame picture would be picture-in-picture.
Over [duration], slide the dividers in to split the frame, then let the panels play side by side.

Movement advances in visible jerky steps at a low frame rate (e.g. 8-12 per second), imitating frame-by-frame photographed animation.

This is for a motion graphics video. Give [scene] a "Stop Motion Look" (also called stepped animation or the posterize time look).
The movement should advance in visible, jerky steps at a low frame rate, each pose held for a moment as if it were photographed one frame at a time — the picture stays on throughout, unlike a strobe.
Run it over [duration] at its normal pace, keeping the same choppy rhythm from start to finish.

The picture appears as rapid on/off flashes so motion looks frozen into discrete jerky poses (or wheels seem to stand still or spin backwards).

This is for a motion graphics video. Add a "Strobe Effect" (also called a stroboscopic effect) to [scene]: the moving subject shows only in rapid on/off flashes.
Each flash should catch the motion frozen in a separate pose, with nothing of it visible in between — a stop motion look keeps the picture on and only lowers the frame rate.
Run it over [duration], and keep the flashing gentle and confined to the subject so it never turns into a harsh full-screen flicker.

Slow real-world processes (clouds, growth, crowds) appear to run at high speed because frames were captured at long intervals, giving a stepped, flowing look.

This is for a motion graphics video. Show [scene] as a "Time-Lapse" (also called time-lapse photography): the camera stays locked off while slow changes race by.
Light, shadows, clouds or growth should flow quickly with a slightly stepped feel, as if the frames were taken far apart — sped-up continuous action is fast motion, and a camera that travels between frames makes it a hyperlapse.
Compress the whole change into [duration].

One layer acts as a moving window (by transparency or brightness) that reveals the image beneath, typically text or a shape wiping content into view.

This is for a motion graphics video. In [scene], use a "Track Matte Reveal" (also called a matte reveal, alpha matte or luma matte): a separate text or shape layer acts as a window, and the picture beneath shows only inside it.
Animate the window itself so it travels across and uncovers different parts of the picture, while the picture underneath keeps playing in place and everything outside the window stays empty — a shape wipe would instead replace one shot with the next.
Run it over [duration], and cut the window either by the matte layer's transparency for a crisp edge or by its brightness for a soft, graded one.

Footage is degraded to look like a worn video tape: horizontal scanlines, color bleed, noise and jittering tracking, usually in a 4:3 frame.

This is for a motion graphics video. Give [scene] a "VHS Look" (also called a VHS effect or analog tape look): degrade the footage so it plays like a worn video tape.
Layer the tape artifacts together — fine horizontal scanlines, colour bleeding softly to one side, speckled tape noise, and a tracking error that drags a band of the picture sideways while the whole frame jitters. It is a constant texture over the entire shot, not a momentary break like a glitch.
Hold it for the full [duration], and crop to the squarer frame of an old television if the layout allows.

The image repeatedly re-captures itself, creating swirling, infinitely receding tunnels like facing mirrors.

This is for a motion graphics video. Apply "Video Feedback" (also called a feedback loop) to [scene]: the picture re-captures itself, so a smaller copy of the whole frame sits inside the frame, another inside that, and so on, receding like facing mirrors.
Each copy should lag a beat behind the one around it and be turned slightly, so any movement ripples inward and the tunnel swirls — trailing copies of the moving subject alone would be an echo.
Let the tunnel build and twist over [duration].