Motion Blur

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.

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.

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.

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.