Zoom

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.

Dolly and zoom run in opposite directions so the subject keeps its size while the background stretches or compresses.

This is for a motion graphics video. In [scene], use a "Dolly Zoom" (also called the vertigo effect, a zolly or a Hitchcock zoom): the camera travels toward or away from the subject while the lens zooms the opposite way.
The subject should hold exactly the same size in the frame while the background stretches away or closes in behind it — if the subject changes size, it is only a dolly or a zoom.
Run it over [duration] at an even, deliberate pace so the warping of the space is what the viewer notices.

A zoom completed in a few frames so it reads as a sudden jolt rather than a smooth push.

This is for a motion graphics video. In [scene], use a "Crash Zoom" (also called a snap zoom or whip zoom): the lens zooms in on the subject, or back out from it, almost instantly.
It should land as a sudden jolt within a few frames and then hold — a smooth, gradual push would be an ordinary zoom.
The whole beat lasts [duration]; keep the framing still before and after so the snap stands out.

The outgoing shot zooms rapidly toward a point and the incoming shot zooms out from a similar point, as if flying through the cut.

This is for a motion graphics video. Join two shots in [scene] with a "Zoom Transition" (also called a zoom in/out transition): the outgoing shot zooms rapidly toward a point and the incoming shot comes out of the same point, as if flying through the cut.
Keep the zoom going in one direction across both shots and hide the cut at its fastest moment — unlike a punch in, the travel between the sizes is shown, and unlike a camera zoom it ends in a different shot.
Run the transition over [duration], speeding up into the cut and slowing down out of 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.

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.