Pan

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 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.