Time-Lapse

Footage plays back at a constant speed faster than real time so movement looks hurried or comic; unlike Time-Lapse it is just sped-up continuous footage, not frames sampled at long intervals.

This is for a motion graphics video. Play [scene] in "Fast Motion" (also called undercranking).
Run the continuous footage at one constant speed, faster than real time, so the action looks hurried and a little comic but still flows smoothly — a time-lapse would skip long gaps between frames instead.
Fit the whole action into [duration] without changing speed along the way.

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.

One layer acts as a moving window (by transparency or brightness) that reveals the image beneath, typically text or a shape wiping content into view.

This is for a motion graphics video. In [scene], use a "Track Matte Reveal" (also called a matte reveal, alpha matte or luma matte): a separate text or shape layer acts as a window, and the picture beneath shows only inside it.
Animate the window itself so it travels across and uncovers different parts of the picture, while the picture underneath keeps playing in place and everything outside the window stays empty — a shape wipe would instead replace one shot with the next.
Run it over [duration], and cut the window either by the matte layer's transparency for a crisp edge or by its brightness for a soft, graded one.

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.

The image repeatedly re-captures itself, creating swirling, infinitely receding tunnels like facing mirrors.

This is for a motion graphics video. Apply "Video Feedback" (also called a feedback loop) to [scene]: the picture re-captures itself, so a smaller copy of the whole frame sits inside the frame, another inside that, and so on, receding like facing mirrors.
Each copy should lag a beat behind the one around it and be turned slightly, so any movement ripples inward and the tunnel swirls — trailing copies of the moving subject alone would be an echo.
Let the tunnel build and twist over [duration].