Dolly Zoom

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.

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.

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.