Crash Zoom

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.

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.