Glitch Effect

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.

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.

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.

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.