Tilt

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.

A flat layer such as a screen or card is tilted back in 3D so it recedes toward one edge and gains depth; the layer tilts, not the camera.

This is for a motion graphics video. In [scene], give a flat screen or card a "Perspective Tilt": it leans back in 3D so one edge recedes into the distance and the layer gains depth.
Tilt the layer itself and leave everything behind it exactly where it is — unlike a camera tilt, the rest of the picture must not move. Let the far edge shrink and the near edge grow so the perspective reads clearly.
Ease the tilt in and out over [duration], and stop at an angle where the content on the layer is still readable.

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.

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.