Ping-Pong Loop

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.

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.

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.