Pedestal

The camera pivots up or down on a fixed spot; unlike a pedestal, the camera body does not rise or fall.

This is for a motion graphics video. In [scene], move the camera with a "Tilt" (also called tilting or pitch): it pivots up or down on the spot.
Everything in the frame should slide vertically together at the same speed, with no depth shift between near and far layers — that is what separates it from a pedestal.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera on an arm rises or falls along an arc, often with a tilt to hold the subject; broader than a plain pedestal.

This is for a motion graphics video. In [scene], move the camera with a "Crane Shot" (also called a jib shot or boom shot): it sweeps up or down in a wide arc, as if carried on the end of a long arm.
The camera should tilt as it travels so the subject stays held in the frame while the ground and background open up around it — a pedestal only lifts the camera straight up while it stays level.
Run it over [duration], and ease into and out of the sweep so it feels grand and unhurried.

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.

The camera rotates around the lens axis so the horizon turns in frame; a held partial roll gives a static Dutch angle.

This is for a motion graphics video. In [scene], move the camera with a "Roll" (also called a Dutch roll or Z-axis roll): it rotates around the lens axis, like turning a steering wheel.
The whole frame should turn around its centre so the horizon tips over, while the camera neither travels nor looks elsewhere; stopping partway leaves a Dutch angle.
Run it over [duration], and ease into and out of the turn so it does not start or stop abruptly.