Fast Motion

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.

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].

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.