Whip Pan

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.

One or two in-between frames distort or duplicate the subject along its path to fake motion blur during a very fast move.

This is for a motion graphics video. Use a "Smear Frame" (also called a smear or an elongated in-between) for the fast move in [scene]: for just a frame or two in the middle of the move, stretch the subject along its path so that it bridges the gap between the two positions.
The shape itself is redrawn — stretched, repeated as multiples, or trailed by motion lines — rather than blurred the way a camera would blur it, and the frames before and after stay sharp and undistorted.
Keep the whole move inside [duration] and very quick, so the smear is felt as speed rather than noticed as a shape.

Fast-moving objects are smeared along their path as if shot with a longer exposure, which makes quick motion look smooth; unlike Echo it is a continuous streak, not separate copies.

This is for a motion graphics video. Add "Motion Blur" (also called motion smear) to the fast moves in [scene]: whatever moves quickly should streak along its own path, as if the shutter stayed open while it travelled.
Blur only the things that are moving, in the direction they move, as one continuous streak that grows with speed — not separate trailing copies, which is an echo, and not the whole frame, which is a whip pan. Anything holding still stays sharp.
Keep it on for [duration], with a wide shutter angle for long soft streaks or a narrow one for short crisp ones.

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.

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.

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.