Fly-Through

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 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.