Smear Frame

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.

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.

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].