Truck

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 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.

Flat layers placed at different depths in 3D space are viewed by a camera, so each layer moves differently as the camera moves.

This is for a motion graphics video. Build [scene] with a "2.5D Camera" (also called a multiplane camera or the 2.5D effect): cut the artwork into flat layers, stand them at different depths in 3D space, and move a virtual camera through them.
Each layer should stay a flat card while the layers drift against one another as the camera travels, near ones faster than far ones — sliding a single flat picture sideways would give no depth at all.
Run the camera move over [duration], slow and floating, and let it drift in more than one direction so the space feels real.

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 lens focal length changes so every layer scales by the same ratio without any parallax; unlike a dolly, the camera does not travel.

This is for a motion graphics video. In [scene], use a "Zoom" (also called a zoom in or zoom out): the lens changes focal length while the camera stays where it is.
Everything in the frame should grow or shrink together by the same ratio, with no depth shift between near and far layers — that is what separates it from a dolly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.