Pull-Back Reveal

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.

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 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.

The camera is rigged to the performer so they stay fixed in frame while the background moves around them.

This is for a motion graphics video. In [scene], use a "Snorricam" (also called a body camera or body cam): the camera is strapped to the performer and faces them.
The subject should stay locked in exactly the same place in the frame while the whole background sways, tilts and swings around them with every step and turn — in a tracking shot the background just streams past evenly.
Keep it going for [duration], and let the surroundings lurch with the subject's movement so it feels dizzy and subjective.