Orbit

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.

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.

Time appears nearly stopped while the viewpoint sweeps around the frozen action; unlike Freeze Frame the camera keeps moving.

This is for a motion graphics video. In [scene], use "Bullet Time" (also called a time slice or frozen moment): at the peak of the action time all but stops while the camera sweeps around the subject.
The subject should hang almost motionless while near and far layers slide past each other as the viewpoint travels — if the camera stops too, it is only a freeze frame.
Give the whole beat [duration]: hit the stop abruptly, then keep the sweep smooth and steady.

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.