Camera Movement

Flat layers placed at different depths in 3D space are viewed by a camera, so each layer moves differently as the camera moves.

This is for a motion graphics video. Build [scene] with a "2.5D Camera" (also called a multiplane camera or the 2.5D effect): cut the artwork into flat layers, stand them at different depths in 3D space, and move a virtual camera through them.
Each layer should stay a flat card while the layers drift against one another as the camera travels, near ones faster than far ones — sliding a single flat picture sideways would give no depth at all.
Run the camera move over [duration], slow and floating, and let it drift in more than one direction so the space feels real.

The camera on an arm rises or falls along an arc, often with a tilt to hold the subject; broader than a plain pedestal.

This is for a motion graphics video. In [scene], move the camera with a "Crane Shot" (also called a jib shot or boom shot): it sweeps up or down in a wide arc, as if carried on the end of a long arm.
The camera should tilt as it travels so the subject stays held in the frame while the ground and background open up around it — a pedestal only lifts the camera straight up while it stays level.
Run it over [duration], and ease into and out of the sweep so it feels grand and unhurried.

A zoom completed in a few frames so it reads as a sudden jolt rather than a smooth push.

This is for a motion graphics video. In [scene], use a "Crash Zoom" (also called a snap zoom or whip zoom): the lens zooms in on the subject, or back out from it, almost instantly.
It should land as a sudden jolt within a few frames and then hold — a smooth, gradual push would be an ordinary zoom.
The whole beat lasts [duration]; keep the framing still before and after so the snap stands out.

The camera body travels forward or backward so near layers grow faster than far ones; unlike a zoom, the perspective changes.

This is for a motion graphics video. In [scene], move the camera with a "Dolly" (also called a push in, pull out or dolly shot): the whole camera travels toward or away from the subject.
Near layers should grow faster than far ones so the perspective shifts as the camera moves — that is what separates it from a zoom, which scales everything evenly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

Dolly and zoom run in opposite directions so the subject keeps its size while the background stretches or compresses.

This is for a motion graphics video. In [scene], use a "Dolly Zoom" (also called the vertigo effect, a zolly or a Hitchcock zoom): the camera travels toward or away from the subject while the lens zooms the opposite way.
The subject should hold exactly the same size in the frame while the background stretches away or closes in behind it — if the subject changes size, it is only a dolly or a zoom.
Run it over [duration] at an even, deliberate pace so the warping of the space is what the viewer notices.

An aerial camera travels forward above a landscape, then often rises to open the scene behind.

This is for a motion graphics video. In [scene], move the camera with a "Fly-Over" (also called an aerial shot): it travels forward high above the scene, looking down on it.
Everything should stream toward the camera and slip away beneath the bottom of the frame as it is passed over, then the view lifts to open up the scene that lies beyond — a dolly at eye level only brings things closer, it never passes over them.
Run it over [duration] at a smooth, steady speed, like a drone gliding forward.

The camera passes through a gap such as a window or beams, then reveals the subject beyond.

This is for a motion graphics video. In [scene], move the camera with a "Fly-Through" (also called a fly-through reveal): it travels forward through a narrow opening, such as a window, a doorway or a gap between beams.
The opening should fill the view and hide most of what lies beyond, then rush past the edges of the frame as the camera clears it and the subject on the far side comes into full view — a plain dolly only moves closer to something already in the open.
Run it over [duration] as one continuous forward move, and settle gently once the subject is revealed.

The operator carries the camera so the frame has small irregular drift and shake; shaky cam exaggerates it.

This is for a motion graphics video. In [scene], give the camera a "Handheld" feel (also called a handheld shot or shaky cam): it is carried in the operator's hands, so the frame never sits perfectly still.
The whole frame should drift and tremble in small, irregular ways, with the horizon wobbling slightly — never a regular back-and-forth — while a Steadicam shot along the same path would glide without any shake.
Keep it going for [duration]; hold it subtle for documentary realism, or exaggerate it into shaky cam for chaos.

An orbit that also climbs or descends, tracing a helix around the subject.

This is for a motion graphics video. In [scene], move the camera with a "Helix Shot" (also called a helix): it circles the subject while climbing or descending at the same time, tracing a spiral around it.
The subject should hold the centre of the frame while the background slides sideways behind it and the ground opens up or closes in as the height changes — a plain orbit stays at one height.
Run it over [duration] as one continuous spiral, turning and rising at an even pace.

The camera travels on a curve around a centred subject while the background rotates behind it.

This is for a motion graphics video. In [scene], move the camera with an "Orbit" (also called an arc shot): it circles around the subject while staying aimed at it.
The subject should hold the centre of the frame while the background slides one way behind it and anything in front slides the other way — in a truck or a tracking shot, every layer slides the same way.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera pivots left or right on a fixed spot, so everything in frame slides at the same rate with no parallax; unlike a truck, the camera body does not travel.

This is for a motion graphics video. In [scene], move the camera with a "Pan" (also called panning): it turns left or right on the spot.
Everything in the frame should slide sideways together at the same speed, with no depth shift between near and far layers — that is what separates it from a truck.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera body rises or falls with level orientation, so near objects shift more than far ones, which distinguishes it from a tilt.

This is for a motion graphics video. In [scene], move the camera with a "Pedestal" (also called a pedestal rise or boom up/down): the whole camera rises or lowers while staying level.
Near layers should slide vertically faster than far ones so the scene gains depth — that is what separates it from a tilt.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera flies backward and upward from a close subject, widening to show surroundings.

This is for a motion graphics video. In [scene], move the camera with a "Pull-Back Reveal" (also called a dronie or pull-away): it starts close on the subject, then flies backward and upward away from it.
The subject should shrink in the middle of the frame while more and more of its surroundings come into view, until the whole setting is shown — an ordinary dolly out only steps back a little at eye level.
Run it over [duration], starting gently and widening steadily so the scale of the place is the payoff.

The plane of focus shifts from one subject to another within a take, with no camera or framing change.

This is for a motion graphics video. In [scene], use a "Rack Focus" (also called a pull focus or focus pull): the focus shifts from one subject to another at a different depth within the same shot.
Nothing should move and the framing should not change — the sharp subject goes soft while the blurred one turns crisp, which is what separates it from a zoom or a camera move.
The whole beat lasts [duration]; hold on the first subject, shift the focus smoothly, then hold on the second.

The camera rotates around the lens axis so the horizon turns in frame; a held partial roll gives a static Dutch angle.

This is for a motion graphics video. In [scene], move the camera with a "Roll" (also called a Dutch roll or Z-axis roll): it rotates around the lens axis, like turning a steering wheel.
The whole frame should turn around its centre so the horizon tips over, while the camera neither travels nor looks elsewhere; stopping partway leaves a Dutch angle.
Run it over [duration], and ease into and out of the turn so it does not start or stop abruptly.

The camera is rigged to the performer so they stay fixed in frame while the background moves around them.

This is for a motion graphics video. In [scene], use a "Snorricam" (also called a body camera or body cam): the camera is strapped to the performer and faces them.
The subject should stay locked in exactly the same place in the frame while the whole background sways, tilts and swings around them with every step and turn — in a tracking shot the background just streams past evenly.
Keep it going for [duration], and let the surroundings lurch with the subject's movement so it feels dizzy and subjective.

A stabilized operator-carried move that glides and floats through space without handheld shake.

This is for a motion graphics video. In [scene], move the camera with a "Steadicam Shot" (also called a gimbal shot or glide cam): an operator carries it through the space on a stabilizer.
The move should glide and float with no shake at all, free to curve around things as it travels — a handheld shot along the same path would tremble, and a dolly would keep to a straight track.
Run it over [duration] as one long, smooth, unbroken move.

The camera pivots up or down on a fixed spot; unlike a pedestal, the camera body does not rise or fall.

This is for a motion graphics video. In [scene], move the camera with a "Tilt" (also called tilting or pitch): it pivots up or down on the spot.
Everything in the frame should slide vertically together at the same speed, with no depth shift between near and far layers — that is what separates it from a pedestal.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera travels with a moving subject from behind, in front or alongside, keeping a steady distance while the background streams past.

This is for a motion graphics video. In [scene], move the camera with a "Tracking Shot" (also called a follow shot or travelling shot): the camera travels along with a moving subject.
The subject should keep its place and size in the frame while the surroundings stream past, near layers faster than far ones — in a truck, the subject slides across the frame with everything else.
Run it over [duration] at a steady pace that matches the subject, staying the same distance from it.

The camera body slides sideways, so near objects shift more than far ones, which distinguishes it from a pan.

This is for a motion graphics video. In [scene], move the camera with a "Truck" (also called a track or crab shot): the whole camera travels sideways.
Near layers should slide across faster than far ones so the scene gains depth — that is what separates it from a pan.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

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.

The lens focal length changes so every layer scales by the same ratio without any parallax; unlike a dolly, the camera does not travel.

This is for a motion graphics video. In [scene], use a "Zoom" (also called a zoom in or zoom out): the lens changes focal length while the camera stays where it is.
Everything in the frame should grow or shrink together by the same ratio, with no depth shift between near and far layers — that is what separates it from a dolly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.