101 Camera Moves

Pan. Movement: the camera holds one position on the ground and rotates on its vertical axis, sweeping the frame left or right across the scene; every object keeps its own place in the world and none of them travel toward the lens. Speed: even rate, about 30 degrees of rotation across 4 seconds, with no change of pace at either end. Framing: the horizon stays parallel to the frame edges and the subject stays inside the frame for the whole sweep. End: settles with the subject on the third opposite the direction of travel and open space ahead of it.

Tilt. Movement: the camera holds one position and rotates on its horizontal axis, the frame nodding up or down through the scene; objects hold their own positions and the ground line crosses the frame once. Speed: one continuous nod of about 25 degrees over 3 seconds, easing over the last half second. Framing: verticals stay parallel to the frame edges and the subject stays inside the frame for the whole nod. End: settles on whatever the rotation arrives at, that element centred with about a third of the frame above it.

Dolly in. Movement: the camera travels forward along its own axis toward the subject; the subject keeps its place in the world and grows in the frame because the camera closed the distance, not because it moved at the lens. Speed: steady walking pace, closing about half the starting distance over 5 seconds. Framing: the eyeline stays on the same third of the frame the whole way and the feet leave the frame before the chest does. End: finishes on a chest-up framing with the subject centred.

Dolly out. Movement: the camera travels backward along its own axis away from the subject; the subject keeps its place in the world and more of the room enters the frame around it as the distance opens. Speed: steady, about 2 metres over 5 seconds, no stop and start. Framing: the subject stays on the same vertical axis of the frame and its head stays legible as it gets smaller. End: finishes wide with the subject about a third of the frame height and both floor and back wall in shot.

Truck left. Movement: the camera keeps its facing and slides bodily to the left, parallel to the subject plane; near objects cross the frame faster than far ones and every object holds its own place in the world. Speed: steady sidestep, about 1.5 metres over 4 seconds, one continuous slide. Framing: the subject stays at the same height in the frame and the near edge object stays a defined shape rather than a smear. End: finishes with the subject on the right third and the space the camera moved into filling the left of the frame.

Truck right. Movement: the camera keeps its facing and slides bodily to the right, parallel to the subject plane; near objects cross the frame faster than far ones and every object holds its own place in the world. Speed: steady sidestep, about 1.5 metres over 4 seconds, one continuous slide. Framing: the subject stays at the same height in the frame and the near edge object stays a defined shape rather than a smear. End: finishes with the subject on the left third and the space the camera moved into filling the right of the frame.

Pedestal up. Movement: the camera rises vertically on its column, the lens keeping the same angle through the whole climb so the frame gains height without nodding; the subject holds its place and is seen from further above as the camera climbs. Speed: rises about 1.2 metres over 4 seconds at an even rate. Framing: verticals stay parallel to the frame edges and the subject stays in the frame through the rise. End: finishes looking across the subject from above eye height, with the ground line lower in the frame than it started.

Pedestal down. Movement: the camera descends vertically on its column, the lens keeping the same angle through the whole drop so the frame loses height without nodding; the subject holds its place and is seen from further below as the camera drops. Speed: descends about 1.2 metres over 4 seconds at an even rate. Framing: verticals stay parallel to the frame edges and the subject stays in the frame through the drop. End: finishes looking across the subject from below eye height, with more of the ground plane across the bottom of the frame.

Whip pan (flash pan). Movement: the camera rotates on its spot fast enough that the scene smears into horizontal streaks, carrying the frame from one subject to another; the world holds its positions and only the rotation rate makes the blur. Speed: about 90 degrees in under half a second, accelerating out of the opening frames and decelerating into the last three. Framing: the opening subject stays readable for the first three frames and the arriving subject is readable within three frames of the smear clearing. End: finishes on a new composition with the arriving subject centred and no streaking left in the frame.

Whip tilt. Movement: the camera rotates on its horizontal axis fast enough that the scene smears into vertical streaks, carrying the frame from one height to another and uncovering what is above or below; the world holds its positions through the rotation. Speed: about 70 degrees in under half a second, accelerating out of the opening frames and decelerating into the last three. Framing: the departing subject is readable for the first three frames and the arriving one within three frames of the smear clearing. End: finishes on the new height with the arriving subject centred and the horizon parallel to the frame edges.

Snap zoom. Movement: the field of view collapses onto the face in one step through the lens, so the framing tightens while the perspective and the distances between objects stay as they were; the subject keeps its place in the world. Speed: from the wide size to the close size in about three frames, and the rest of the beat runs at the close size. Framing: the face stays on the same point of the frame across the step and the eyeline does not jump between the two sizes. End: finishes on a head-and-shoulders framing with the eyes on the upper third.

Ping-pong pan. Movement: the camera rotates on its spot between two people standing apart, swinging the frame from one to the other and back again; both people hold their positions and only the camera crosses the gap. Speed: each swing crosses in about 0.3 seconds, and between swings the camera drifts a few degrees on the face it landed on rather than arriving and parking. Framing: both faces are legible in the frames that land on them and both eyelines sit at the same height. End: finishes landed on one of the two in a chest-up framing, with the other's shoulder on the near edge of the frame.

Party pan. Movement: the camera is hand-carried and swings loosely left and right off a drifting centre, the body shifting a few inches with each change of direction; the scene holds its own positions while the frame wanders across it. Speed: about two changes of direction a second, 15 to 25 degrees each way, and the amounts deliberately unequal. Framing: the subject stays within the middle half of the frame through the wander and faces stay legible while the frame is moving. End: finishes off axis with the subject about a third in from one edge and the frame line a few degrees off level.

Crash push-in. Movement: the camera travels forward at running pace on a carried rig, the subject holding its ground while the distance closes; the frame bobs a little with each step and the subject grows because the camera arrived, not because it moved at the lens. Speed: closes about 4 metres in 1.5 seconds, accelerating through the first third and carrying that rate to the end. Framing: the face stays in the upper middle of the frame through the bob and the horizon stays within 5 degrees of level. End: finishes on a head-and-shoulders framing, face centred, about an arm's length out.

Slingshot. Movement: the camera travels forward along one straight line toward the subject and keeps travelling to a close framing, with no change of direction and no change of rate; the subject holds its place and the distance closes ahead of the lens. Speed: generate the whole travel at one even rate over 6 seconds, since the slow-then-snap is applied afterwards. Framing: the face stays on the same third of the frame for the whole travel and stays legible at every size it passes through. End: finishes on a face-filling framing with the eyes on the upper third.

Pendulum swing. Movement: the camera swings along an arc that passes over the subject and out the other side, then returns along the same arc; the subject holds its place at the centre of the arc and the camera carries the whole movement. Speed: one pass across in 2 seconds and the return in 2 seconds, faster through the middle of the arc than at either end. Framing: the subject stays at the centre of the frame through both passes and the ground line rises and falls behind it. End: finishes at one end of the arc looking down at the subject from about 45 degrees.

Ground-up reveal. Movement: the camera starts low at the subject's feet and climbs, the lens angling up as it rises, so the body passes through the frame from shoes to knees to hands to chest to face; the subject holds its stance and the camera carries the climb. Speed: covers the body in 3 seconds, easing over the last half metre. Framing: the body stays centred across the frame through the climb and the face is legible for the final second. End: finishes on a low-angle chest-up framing, the camera below eye height and looking slightly up.

Sky-down reveal. Movement: the camera starts framed on open sky and rotates down through the horizon as the subject walks into the lower part of the frame; the sky and the ground hold their positions and the subject covers its own ground on foot. Speed: about 60 degrees of rotation over 3 seconds, with the subject entering the frame during the final second of it. Framing: the horizon crosses the frame once and stays level, and the subject is legible from the frame it enters. End: finishes on a chest-up framing at eye height with the subject centred and a strip of sky along the top edge.

Model reveal. Movement: the camera curves around the first person on a short arc, keeping them in the frame while the arc opens the space behind them and brings a second person into view; both people hold their positions and the camera carries the curve. Speed: about 90 degrees of arc over 5 seconds at an even rate. Framing: the first face stays legible until the second enters and both are in the frame together for the final 2 seconds. End: finishes on a two-shot, the first person in profile on the near edge and the second facing the lens.

Object pass-by. Movement: the camera slides sideways so a near object such as a pole, a column or a wall edge crosses the frame and clears it, uncovering the subject standing behind; the near object and the subject both hold their places and only the camera travels. Speed: steady sidestep, the near object crossing the frame over about 1.5 seconds. Framing: the near object stays a defined silhouette rather than a smear as it crosses, and the subject is legible within three frames of it clearing. End: finishes with the subject centred and the near object gone off the trailing edge.

Mirror slip. Movement: the camera rotates across a reflective surface holding the subject's reflection, then tilts down and across to the subject standing in front of it; the person and the surface hold their places and the camera carries both movements as one. Speed: the sweep across the reflection in 2 seconds, then the tilt down in 1 second, run without a break between them. Framing: the reflected face is legible through the first half and the real face through the final second, with the edge of the reflective surface visible at the handover. End: finishes on a chest-up framing of the person with the edge of the glass along the top of the frame.

Over-the-shoulder swivel. Movement: the camera starts behind the subject's shoulder and arcs around the body to the front; the subject keeps their feet planted and their stance unchanged while the camera carries the whole rotation around them. Speed: about 150 degrees over 4 seconds at an even rate, easing through the final 30 degrees. Framing: the back of the head and the shoulder line stay in the frame through the arc and the face is legible for the final second. End: finishes on a front three-quarter chest-up framing, the shoulder that started nearest now on the frame edge.

Lens block drop. Movement: one hand enters from a frame edge and covers the lens until the palm fills the frame, then withdraws the way it came and uncovers the scene behind it; the scene holds its positions throughout and only the hand and the camera move. Speed: the hand covers the frame in about four frames, the palm fills it for about six, and it clears in four. Framing: the palm fills the frame corner to corner at the covered point with no gap, and the scene behind is legible within three frames of the clear. End: finishes on the uncovered scene with the subject centred.

Horizon flip. Movement: the camera starts inverted and rolls 180 degrees on its lens axis until the horizon is level; the world keeps its own orientation and gravity, and the camera carries the entire roll. Speed: 180 degrees over 2.5 seconds, easing through the final 40 degrees. Framing: the subject stays at the centre of the frame through the roll and the horizon is a readable line at both ends. End: finishes level, horizon parallel to the frame edges, subject centred.

Door close push. Movement: the camera travels forward through a doorway while the door swings, the door frame passing the lens on both sides as the camera crosses the threshold and the room beyond opens around it; the door, the frame and the room all hold their own places. Speed: crosses the threshold in about 2 seconds at an even rate, with no stop at the frame. Framing: the edge of the door stays a defined line as it passes and what is beyond the threshold is legible within five frames of crossing. End: finishes inside the room with the doorway out of the frame behind and the subject in the middle distance.

Arc shot / 360 orbit. Movement: the camera travels a full circle around the subject at a fixed radius, the subject holding its position on the floor while the background sweeps past behind it. Speed: one complete revolution across the length of the shot at a constant rate, no slowing at the start or the finish. Framing: the subject stays centred and the same size for the whole circle, so the background is the only thing that changes. End: back at the opening angle, subject the same size and on the same centre.

Vertigo / dolly zoom. Movement: the camera retreats in a straight line along the lens axis away from the subject, the subject staying on its mark while the walls and floor slide past on both sides. Speed: about two metres of travel over four seconds at a constant rate, no pause at either end. Framing: the subject's head and shoulders stay on the same centre line, and the room stays visible on both sides so the later zoom has material to crop into. End: the subject at half its opening height with the whole room open around it.

Red carpet tracking. Movement: the camera retreats along the subject's path, staying ahead of them at a constant distance with the lens turned back on their face, while the crowd and the barriers pass on both sides. Speed: matched to a walking pace, about 1.5 metres per second, held without closing or opening the gap. Framing: face and upper body stay centred, with the two lines of people readable down both edges. End: the same medium shot, subject one stride from the camera's stopping mark.

Leading tracking. Movement: the camera moves through the space in the same direction the subject walks, held two paces in front with the lens turned back on their face, and it turns with the path wherever the path turns. Speed: the subject's own walking pace, about 1.25 metres per second, each turn taking about one second. Framing: face and hands stay in frame, and the space they are walking away from stays readable behind their shoulders. End: framed on the face at the same distance, with the turn completed and the new corridor behind them.

Steadicam glide. Movement: the camera travels through the interior at about 60 cm off the floor on a level line, passing doorways, table legs and furniture on both sides, with no vertical bob. Speed: unhurried walking pace, around one metre per second, held constant through the whole travel. Framing: the horizon stays level and the room's leading lines — door frames, counter edges, skirting — stay legible through every pass. End: settles in a doorway with the next room framed inside it.

Low-angle hero walk. Movement: the camera retreats at knee height with the lens tilted up, keeping pace with the walking figure so their head stays against the ceiling or the sky behind them. Speed: walking pace, about 1.4 metres per second, constant, with no acceleration into the final frames. Framing: the head stays clear of the top edge, the jaw and eyes stay readable, and the vertical lines of the building converge behind the figure. End: the figure filling about three quarters of the frame height, still seen from below.

High-angle vulnerability. Movement: the camera hangs directly over the subject with the lens pointed straight down, and climbs vertically away from them while the floor plane stays flat to the lens. Speed: about three metres of climb over six seconds at a constant rate. Framing: the subject stays at the centre of the frame and stays large enough to read as a person — head, shoulders, and the shadow they cast on the floor. End: the subject at about a sixth of the frame height with empty floor on all four sides.

Crane / jib reveal. Movement: the camera rises from head height and travels forward across a foreground edge — a parapet, a ridge, a wall — so the near ground drops away and the landscape behind it enters from the bottom of frame. Speed: about eight metres of climb over six seconds, with the forward travel matched to the climb at a constant rate. Framing: the foreground edge stays in the lower third for the whole move, so the reveal reads as crossing something rather than cutting. End: a wide view with the foreground edge along the bottom and the landscape filling the rest of the frame.

Silhouette reveal. Movement: the camera pans across the scene from a bright opening — window, doorway, sky — onto a figure standing between the lens and that light, so the figure enters from the frame edge and blocks the source. Speed: an even pan of about 30 degrees over three seconds, carrying a few degrees past the figure before it settles. Framing: the outline holds — shoulders, hairline, the gap between arm and body — hard against the bright field; nothing inside the outline needs detail. End: the figure filling one half of the frame as a flat dark shape, with the light source still open beside it.

Rack focus slide. Movement: the camera slides sideways parallel to the subject plane while the plane of focus moves from the near object back to the one behind it. Speed: about one metre of slide over three seconds; the focus change starts at the halfway point and takes one second. Framing: both objects stay in frame for the whole slide, the near one on one third and the far one on the other, so sharpness is the only thing that changes. End: the far object sharp, the near one soft, both still in frame.

Dutch angle roll. Movement: the camera rotates around its own lens axis, carrying the horizon from level to about 12 degrees off, while the subject holds its position in the room. Speed: the roll runs at a constant rate across two seconds. Framing: the subject stays on the centre of the frame through the roll, and the corners stay clear of anything that has to be read, because the roll pushes content toward the edges. End: horizon 12 degrees off level, subject still centred.

Invisible cut shake. Movement: plate A — the camera swings hard toward a flat colour surface until that colour reaches every edge; plate B — the camera pulls back off an identically coloured surface in a second location. Speed: each swing covers about 90 degrees in a third of a second, accelerating, so the last frames are pure colour. Framing: the colour field must fill the frame for at least four frames on each plate, and the two colours must match in hue and brightness. End: plate A ends on full-frame colour; plate B opens off that colour onto the new location.

Phone drop. Movement: the camera falls from about chest height onto a soft surface — bedding, a couch, grass — tumbling once on the way down so the room rotates past the lens, then coming to rest at an angle looking up. Speed: the fall lasts under a second and accelerates; the settle resolves within three frames of contact. Framing: one fixed element — a ceiling light, a window, a headboard — stays in frame through the tumble so the rotation is readable. End: a canted low view of the ceiling with the edge of the soft surface across the bottom of frame.

Perspective spin. Movement: the product turns on its own vertical axis in one direction while the camera orbits the product in the opposite direction, both around the same centre. Speed: the product turns 180 degrees and the camera travels 180 degrees the other way across four seconds, both at a constant rate. Framing: the product's face or label points at the lens for the first and the last second, and the product's size in frame does not change. End: label front again, with the background a half turn from where it started.

Match cut push. Movement: plate A — the camera approaches an object along the lens axis until the object's outline fills the frame; plate B — the camera retreats from a second object that starts at the same size, in the same position. Speed: both travels run at the same rate, the object roughly doubling in frame height over two seconds. Framing: the shared shape — a circle, a rectangle, a silhouette — sits at the same size and the same place on plate A's last frame and plate B's first. End: plate B settles wide on the second object in its own space.

Outfit toss swivel. Movement: plate A — the camera whips right as the subject throws a garment across the lens, the garment filling the frame at the peak of the swing; plate B — the swing carries on in the same direction and decelerates onto the subject standing on the same mark in the second outfit. Speed: about 90 degrees of whip in eight frames, then half a second of deceleration into the new framing. Framing: the subject stands on the same mark at the same distance in both plates, and the frame passes through at least four unreadable blurred frames at the peak. End: the subject in the second outfit, same size and same position as the opening.

POV chest rig glide. Movement: the camera occupies the subject's eyeline and travels through the space as they move, their own forearms and hands entering from the lower edge when they reach for something. Speed: walking pace, about one metre per second, with a rise and fall of roughly two centimetres per step. Framing: the horizon sits near the middle of the frame, and whatever the person is about to touch stays visible before the hand reaches it. End: framed on the thing they have reached, hands in the lower third.

Snack toss drop. Movement: the camera sits below the action looking up and climbs toward the source while the ingredients fall past the lens on both sides. Speed: the ingredients fall at full gravity in three staggered groups about six frames apart; the camera climbs about 20 cm over two seconds. Framing: the light source stays behind the falling pieces so their edges read, and the pieces pass either side of frame centre rather than covering it. End: the last group clearing the bottom of frame with the light open again at the top.

Snorricam. Movement: the camera is fixed to the subject's torso at arm's length facing back at their face, so the subject keeps the same position and size in frame while the street, the corridor and everything behind them swings and slides past. Speed: the subject walks at normal pace, and the background passes at that same pace with a lurch on each step. Framing: the face stays centred and the same size for the whole take, and the background stays bright enough to read as moving. End: face still centred, background arrived somewhere different from where it started.

Clockwork spin. Movement: the camera rotates around its lens axis with the face at the centre of rotation, so the face keeps its position while the room turns around it. Speed: 180 degrees over three seconds at a constant rate. Framing: the eyes stay on the centre of the frame through the rotation, and anything that has to be read stays inside a centred circle, because the corners lose content as the frame turns. End: the frame a half turn over, face still centred.

Table slide. Movement: the camera travels sideways just above a counter, parallel to its edge, passing plates, jars and hands at a constant height above the surface. Speed: about 60 cm over three seconds at a constant rate, with no ease at either end. Framing: the counter edge holds the same line across the lower third, and each item stays fully visible for at least half a second as it passes. End: framed on the last item with the passed items strung out behind it.

Top-down overhead slide. Movement: the camera looks straight down at the surface and travels parallel to it in one direction, staying the same distance above it for the whole move. Speed: about one metre over four seconds at a constant rate. Framing: the surface fills the frame with no wall or horizon entering, and the items stay square to the frame edges as they pass. End: framed on the arrangement at the far end of the travel, at the same height above the surface.

Macro push. Movement: the camera approaches one detail of the object along the lens axis until that detail fills the frame, the object holding its position while the camera closes the distance. Speed: the last 10 cm taken over three seconds, decelerating into the final second. Framing: the whole object stays recognisable for the first second so the close-up is not read as a separate shot, and the named detail — grain, weave, crumb, condensation — stays centred. End: the detail filling the frame with the nearest surface sharp.

Steam rise pedestal. Movement: the camera climbs vertically from just above the rim of the dish to a three-quarter height looking down, passing through the column of steam as it rises. Speed: about 40 cm of climb over four seconds at a constant rate, the steam lifting faster than the camera so the two rates separate. Framing: the steam stays lit from behind so it reads against the background, and the dish stays in the lower half of the frame through the climb. End: a three-quarter view of the whole dish with steam still crossing the upper half.

Unboxing pull. Movement: the camera starts inside the open box level with the product and retreats straight back along the box's centre line as the lid swings up past the lens; box, product and table stay where they are. Speed: even retreat at about one box width per second, without ramping in or out. Framing: the product's front face stays centred and both inner box walls stay in frame for the whole pull. End: finishes on a three-quarter view of the open box with the product inside and a hand's width of table on each side.

Reveal from behind the plate. Movement: the camera starts low behind the near rim of the plate with the rim filling the bottom edge, and tilts up on a fixed pivot until the table and the room behind it enter frame; the plate and everything on it stay where they sit. Speed: one continuous tilt at about 20 degrees per second, with no change of pace as the far rim crosses the centre. Framing: the plate rim stays in the lower third throughout and the food surface stays readable until the tilt passes it. End: finishes on the table with the plate in the bottom third and the setting filling the upper two thirds.

Diagonal slice. Movement: the camera stays overhead with the lens pointed straight down and travels in a straight line from one corner of the flat-lay to the opposite corner; every object stays fixed on the surface. Speed: constant glide, the full diagonal crossed in 4 seconds, with no change of pace at the midpoint. Framing: at least three objects fully inside the frame edges at any moment, with the surface texture held sharp. End: finishes with the last corner object centred and the rest of the arrangement running off the opposite edge.

Spiral up orbit. Movement: the camera circles the product on a fixed radius while climbing, rising about one product height per quarter turn; the product keeps its place on the surface and its facing throughout. Speed: continuous, three quarters of a turn over 5 seconds, the climb rate matched to the turn rate. Framing: the product stays centred and the surface edge stays visible on at least one side so the height reads. End: finishes at a high three-quarter angle, roughly 45 degrees above the surface, with the whole product and its shadow in frame.

Glow-up pan. Movement: the camera pans sideways across the product from a fixed position while the key light rises from dark to full; the product does not move. Speed: one unbroken pan at about 12 degrees per second, the light reaching full at the pan's midpoint. Framing: the product silhouette readable against the background from the first frame, the label legible from the midpoint on. End: finishes with the lit product in the centre third and the background about two stops darker than the product.

Ground skim. Movement: the camera holds a constant height of a few centimetres above the asphalt and tracks forward behind the subject at the subject's own speed, so the gap between lens and subject stays the same while the road surface runs past underneath. Speed: fast — the asphalt streaking past, the subject holding one place in frame. Framing: the subject's feet or the board's underside stay in frame along with about two metres of road ahead of them. End: finishes at the same gap, subject in the lower centre, the road running out to the horizon above it.

Whip-around reversal. Movement: the camera leads the subject from the front, then arcs around one side on a constant radius until it is directly behind them on the same line of travel; the subject keeps walking straight ahead through the whole arc. Speed: the arc takes about 1.5 seconds and runs faster through the side than at either end. Framing: the subject's head and shoulders stay in frame for the whole arc and the background stays readable as it swings past. End: finishes behind the subject at shoulder height with their back centred.

Low-to-high jump follow. Movement: the camera starts at ankle height a stride in front of the subject and rises vertically as the subject leaves the ground, reaching the subject's chest height at the top of the jump; the camera's position on the ground does not change. Speed: the lift is tied to the jump — slow through the crouch, quick through the push off, easing as the subject reaches the apex. Framing: the subject's feet in frame at the start and their whole body in frame at the apex. End: finishes at chest height with the subject centred and the ground about a body length below the bottom edge.

FPV drone dive. Movement: the camera starts above the top of the structure and descends close to its face, following the wall down, then pulls out of the descent near the base into level forward flight; the structure stays fixed. Speed: accelerating through the drop and decelerating into the level-out, the whole dive over about 4 seconds. Framing: the face of the structure fills one side of frame through the descent, with its windows or panel lines readable rather than smeared. End: finishes in level forward flight about one storey above the ground, the base of the structure passing on one side.

Bicycle lead. Movement: the camera is mounted on the back of the lead bicycle facing backward, holding a fixed distance and angle to the riders following, so the road, kerb and buildings recede while the chasing riders hold about the same size in frame. Speed: the world recedes at riding pace and small bumps from the road surface come through the mount. Framing: the nearest chasing rider's face and front wheel stay in frame, with the road between the two bikes visible. End: finishes with the chasing rider slightly larger than at the start, centred, the road running away behind them.

Parallel speed match. Movement: the camera stays in one position and pans to follow the passing car, the pan rate matched to the car's angular speed so the car keeps the same place in frame while the background sweeps behind it. Speed: the pan neither lags nor overtakes the car, and background detail streaks horizontally throughout. Framing: the car's full length in frame with its wheels and body line sharp against the smeared background. End: finishes on a three-quarter rear view as the car continues out toward the far edge of frame.

Chaotically handheld. Movement: the camera is carried by hand and hunts around a fixed world — small left-right corrections, a vertical drift on each step, the subject sliding off centre and being pulled back. Speed: several small corrections per second with a larger re-frame about every two seconds, and no smooth arcs anywhere. Framing: the subject's face stays inside the middle half of frame while the frame hunts, with the horizon tilting up to about 8 degrees either way. End: finishes with the subject back near centre and the frame still hunting.

Infinity reveal. Movement: the camera rises over the ridge line from behind it while travelling forward, so the ground falls away and the valley enters from the bottom of frame; ridge and valley stay fixed. Speed: a steady forward creep, the valley taking about 3 seconds to fill the lower half of frame. Framing: the ridge line readable as a hard edge until it exits the bottom of frame, and the far side of the valley holding the upper third. End: finishes on a wide of the valley with the near ridge out of frame and the far ridge on the horizon.

Window view pass. Movement: the camera starts inside the vehicle with the window frame around the edges of shot and travels forward through the open window into the open air, the window frame passing the lens and leaving at the edges as the landscape opens out. Speed: an even push, the window frame clearing the lens in about 2 seconds, then holding forward travel alongside the vehicle. Framing: the inner edge of the window readable at the start and the passing landscape readable once through. End: finishes outside and level with the moving vehicle, landscape filling the frame and the vehicle's body along one edge.

Drone horizon tilt. Movement: the camera flies forward at a constant height while tilting up from the ground ahead to the sky, so the land slides down out of frame and the sun enters from the top; the terrain stays fixed below. Speed: forward flight even throughout, the tilt taking about 3 seconds and running in the second half of the move. Framing: the horizon stays in frame for the whole tilt, travelling from the upper third to the lower third, and the sun reads as a disc rather than a blown field. End: finishes with the horizon in the bottom quarter and the sun in the upper centre, land still passing below.

Under-bridge shadow pass. Movement: the camera tracks forward in a straight line from the shadow under the bridge out into open sunlight, the bridge deck passing overhead and the exposure lifting as the camera clears it. Speed: constant forward travel, the shadow edge crossing the lens about 2 seconds in. Framing: the underside of the bridge readable while in shadow, the road ahead readable once out, and the shadow edge visible as a hard line across the ground. End: finishes in full sunlight with the bridge behind and out of frame and the road running to the centre of frame.

Foreground tree sweep. Movement: the camera tracks sideways past a line of trees standing between it and the subject, each trunk crossing the lens in turn and wiping the frame; the trees and the subject both stay where they are and only the camera travels. Speed: even sideways travel with a trunk crossing frame about every 0.8 seconds. Framing: the subject beyond the trees holds the same place in frame and stays readable between trunks, with the near trunks out of focus as they cross. End: finishes past the last trunk on a clear view of the subject, centred.

Water reflection tilt. Movement: the camera starts pointed down at the puddle holding the reflection and tilts up on a fixed pivot, past the far edge of the water, to the subject itself; the puddle and the subject stay in place. Speed: one continuous tilt at about 15 degrees per second, with no change of pace as the waterline crosses the frame. Framing: the reflected subject readable in the water at the start, the waterline crossing frame through the middle of the move, the subject readable at the end. End: finishes with the subject centred and a strip of the puddle in the bottom eighth of frame.

180° vista pan. Movement: the camera stays in one position and pans through half a turn across the view, the landscape crossing the frame from one edge to the other; nothing in the scene changes position. Speed: the half turn takes about 10 seconds at a constant rate, roughly 18 degrees per second. Framing: the horizon holds the same height across the whole pan, with at least one near landmark in frame at any moment to carry the scale. End: finishes 180 degrees from the start, with the view that began behind the camera now filling the frame.

Vortex roll. Movement: the camera travels forward down the centre of the hallway while rolling once around the lens axis, so the walls, floor and ceiling turn past one another; the hallway itself stays fixed. Speed: the forward walk is even and the full roll takes about 4 seconds at a constant rate across it. Framing: the far end of the hallway stays at the centre of the roll and the wall lines stay readable as they turn. End: finishes upright at the end of the hallway with the doorway centred.

Vertigo tilt. Movement: the camera descends vertically while tilting up toward the subject, so the subject holds its size and place in frame while the space behind it stretches; the subject and the background stay where they are. Speed: the descent runs evenly over about 4 seconds with the tilt rate tied to it, so the subject's height in frame does not change. Framing: the subject's full height in frame for the whole move and the background behind it readable as it stretches. End: finishes low, looking up at the subject, the background standing taller behind it than at the start.

Dreamy drift. Movement: the camera floats forward and sideways at once along a shallow curve, with a small vertical drift on the operator's breathing; the scene stays fixed and the frame slides across it. Speed: slow — the frame crosses about a tenth of its own width per second, with no sharp corrections. Framing: the subject sits in the plane of focus with foreground and background soft, and stays inside the middle third as the frame drifts. End: finishes with the subject just off centre and the drift still running.

Mirror maze swivel. Movement: the camera pans on a fixed pivot from one mirror panel to the next, each panel carrying a reflection of the panels behind it, so the pan crosses real space and reflected space in turn; the panels stay fixed. Speed: about 25 degrees per second, slowing to roughly 8 degrees per second as each seam crosses the centre and picking up again after it, four panels in about 6 seconds. Framing: the subject's reflection readable in at least one panel at every moment, with the seams between panels visible as vertical lines. End: finishes on a panel carrying the subject twice, once direct and once reflected.

Upside-down track. Movement: the camera is inverted and travels forward along the corridor with the ceiling line running through the frame and the floor above it; the room stays fixed and only the camera travels. Speed: even forward travel with a ceiling fixture passing the lens about every 2 seconds. Framing: the ceiling line stays a straight edge across frame and the far end of the corridor stays at the vanishing point. End: finishes with the far doorway centred and the frame still inverted.

Subconscious push-in. Movement: the camera advances toward the subject on a straight line along its own axis, closing about a fifth of the distance between them across the shot; the subject holds position in the world. Speed: continuous, around 0.3 pixels of subject growth per frame, with no acceleration and no stop anywhere in the move. Framing: the eyeline stays on the upper third and the headroom shrinks by exactly the amount the face grows. End: finishes in a chest-up frame from a waist-up frame, on the same lens axis it started on.

Conversational drift. Movement: the camera floats on an irregular path around one position, travelling a few centimetres forward, then left, then back, never returning to the same coordinate twice; the speaker holds position and the background shifts behind them. Speed: the drift covers about 2 percent of frame width every two seconds and changes direction roughly every 40 frames. Framing: the speaker's eyes stay in the upper third throughout, and no drift crosses the shoulder line into a reframe. End: settles anywhere inside the same medium close-up, with the speaker still on the upper third.

Profile swing. Movement: the camera travels a quarter arc around the subject's head, from directly in front to level with the ear, rotating as it goes to keep the head centred; the subject holds position and the background slides across behind. Speed: 90 degrees across two to three seconds, constant, with no hold at the three-quarter angle. Framing: the near eye stays visible until the last 15 degrees, and the nose stays inside the frame as the silhouette turns. End: finishes on a full side profile with the face looking into two thirds of open frame.

React reveal. Movement: the camera rotates on its spot away from the speaker and across the room until the listener's face fills the frame; both people hold their positions and only the camera's heading changes. Speed: the rotation covers the distance in about one second, easing out over the final eight frames so the listener's face arrives settled rather than sliding. Framing: the speaker's shoulder stays in frame for the first third of the move so the two read as one space, and the listener's eyes land on the upper third. End: finishes in a single of the listener, looking frame-left toward where the speaker was.

Desk glide. Movement: the camera travels laterally across the desk surface at about hand height, passing objects that hold their places; the near edge of the desk sweeps through the bottom of frame. Speed: roughly one desk width every three seconds, constant, with no ease at either end. Framing: the hands and whatever they are working stay in the middle third, and the desk edge stays parallel to the bottom of frame. End: finishes with the hands on the far third and one foreground object left soft in the near corner.

Focus shifter. Movement: the plane of focus travels from the near subject to the far subject while the camera creeps forward by about a hand's width on its own axis; both people hold their positions and neither crosses the frame. Speed: the plane crosses in 12 to 20 frames, slowing through the middle of the travel so the handover is visible rather than instant. Framing: both faces stay in frame the whole time — the near one on one third, the far one on the opposite third — so the viewer can see which is sharp. End: finishes with the far subject sharp and the near one a soft shape holding a third of the frame.

Diagonal crane. Movement: the camera rises and retreats at once, climbing about two body heights while travelling back about three, along one straight diagonal through the world. Speed: constant on both axes so the path reads as a single line; the full move runs four to six seconds. Framing: the subject stays on the same vertical third while the ground opens up beneath it, and the horizon enters frame in the final third of the move. End: finishes on a high wide shot with the subject about a sixth of the frame height and ground visible on all four sides.

Orbit-tilt combo. Movement: the camera travels an arc around the subject while its heading tilts downward, so the frame leaves the face and arrives on the hands; the subject holds position and only the camera changes place and angle. Speed: 60 to 120 degrees of arc across three seconds, with the tilt spread evenly over that same interval rather than saved for the end. Framing: the forearms stay in frame through the whole arc so the eye has a line to follow from face to hands. End: finishes on a three-quarter view of the hands and what they hold, with the face cropped at the chin.

Panning truck. Movement: the camera travels sideways past an object that holds its place, rotating back toward it as it goes, so the object stays near the centre while the ground and background stream past the other way. Speed: about one object width of travel per second, with the rotation matched to the travel so the object never drifts more than a quarter frame off centre. Framing: the object stays between the centre and the trailing third, and the background stays readable as a place rather than a smear. End: finishes with the camera past the object, the object on the trailing third, seen three-quarter from behind.

Pedestal-tilt sweep. Movement: the camera descends vertically through the world from about eye height to about knee height while tilting upward, so the subject keeps the same place in frame as the angle beneath it changes. Speed: the descent runs two to three seconds and the tilt rate is matched to it frame for frame. Framing: the subject's head stays on the upper third throughout while the amount of sky or ceiling behind it grows. End: finishes on a low angle looking up at the subject, head still on the upper third, ground filling the bottom of frame.

Zoom-pan swivel. Movement: the camera rotates fast around a corner or an edge while the lens widens, so new space enters from the side and from the frame edges at the same time. Speed: 60 to 90 degrees of rotation across about eight frames, with the widening running over those same eight frames and stopping with them. Framing: one vertical edge — the corner, a door frame, a pillar — stays readable throughout as the thing being rounded. End: finishes on a wide frame of the space past the corner, with that edge on the trailing third.

Spiral push-in. Movement: the camera advances toward the subject while rolling around its own axis, so the horizon rotates as the subject grows; the subject holds its place in the world and only the camera travels and rolls. Speed: 30 to 60 degrees of roll spread across the whole push, with the push closing about a third of the distance in three seconds. Framing: the subject's centre stays within a quarter frame of the middle while the horizon turns, so the roll reads as the camera turning and not the subject tipping. End: finishes in a medium close-up with the horizon off level by the stated amount and the subject centred.

Seesaw tilt. Movement: the camera's heading tilts up, then down past where it began, then up again, each swing shorter than the one before; its position in the world does not change, only its angle. Speed: three swings across two seconds — roughly 20 frames up, 16 down, 12 up — running into each other with no gap. Framing: the subject stays in frame through every swing, sitting on the lower third at the top of the first and the upper third at the bottom of the second. End: finishes level, with the subject on the centre third and the horizon back where it started.

Overhead arc. Movement: the camera travels a crescent path above a flat surface, looking straight down, so the objects on the surface rotate under the frame while keeping their places on the table. Speed: 90 to 120 degrees of arc across four seconds, constant, with the camera height unchanged throughout. Framing: the hero object sits at the centre of the arc and never leaves the middle third, and the surface fills the frame edge to edge for the whole move. End: finishes with the layout turned a quarter from the opening and the hero object still centred.

Blind corner track. Movement: the camera travels forward along a wall and turns through the corner, and a subject already standing past it comes into frame from behind the edge — the camera moves into the space, the subject does not walk on. Speed: the approach covers about two metres in two seconds, the turn takes 12 frames, and the framing settles across the eight frames after the subject appears. Framing: the wall edge stays on one side of frame through the approach so the viewer knows something is behind it, and the subject arrives on the opposite third. End: finishes on a medium shot of the subject with the corner edge still on the trailing third.

Continuous take loop. Movement: the camera travels a closed path through the world — out, around and back — returning to the position and heading it began on, with every object it passes holding its place. Speed: the first second and the last second run at the same rate, because that is where the join is read; a full circuit takes six to twelve seconds. Framing: the opening composition is the target for the closing one — same subject size, same screen position, same horizon height. End: finishes on the opening composition, matched closely enough that the cut back to frame one is not seen.