# Camera vocabulary for prompt writing

These terms mix camera travel, rotation, lens/focus changes, viewpoints, rigs and time effects. Choose a technique for its story purpose, then specify its framing, target and endpoint. A technique name alone is not a complete shot instruction. The descriptions below are cinematography concepts, not a claim that a particular generator has named presets for all of them.

| Technique | Brief description and useful direction |
|---|---|
| Snorricam | A body-mounted camera, commonly facing the performer, keeps them relatively fixed in frame while the surroundings move. Useful for subjective unease or intensity; not the same as seeing through their eyes. |
| Robot arm | A motion-control rig executes precise, repeatable camera paths. Specify the actual path and speed; the rig name alone does not imply an orbit or a fast move. |
| Tilt up | Rotate the camera upward from a fixed position, for example from a held object to a face. The camera itself does not rise. |
| Rack focus | Shift focus between subjects or depth planes within a shot. Name the starting subject, ending subject and hold; the camera can stay still. |
| Tilt down | Rotate the camera downward from a fixed position, for example from a face to a bag. |
| POV | Frame what a particular character sees from their approximate eye position. Identify whose viewpoint it is; movement depends on their action. |
| Pan left | Rotate the camera left from a fixed position to follow or reveal something. Specify where it stops. |
| Crane up | Lift the camera on a crane/jib-like path, often gaining an elevated view and revealing more geography. Describe the final height/framing. |
| Pan right | Rotate the camera right from a fixed position to follow or reveal something. |
| Crane down | Lower the camera on a crane/jib-like path, often moving from an overview toward a character or detail. |
| Side tracking | Travel alongside a moving subject, usually matching pace to maintain their size and side/profile relationship. |
| Pedestal up | Raise the whole camera vertically while keeping its basic viewing direction; reveals different spatial relationships without simply tilting. |
| Pedestal down | Lower the whole camera vertically while maintaining its basic viewing direction. |
| Handheld | Operator-like variations in position and rotation. Specify subtle authored sway, energetic shake or another intended intensity; do not imply constant jitter by default. |
| Tracking | Move the camera with a subject: follow behind, lead in front or accompany alongside. Specify which relationship. |
| Drone orbit | An aerial camera travels around a subject or location. Specify altitude, radius, start view and how much of the circle is completed. |
| Dolly zoom | Move toward or away from the subject while zooming in the opposite sense to keep its size roughly constant; background perspective changes conspicuously. A deliberate tension/disorientation effect. |
| Aerial pullback | Retreat from an elevated viewpoint to reveal a larger setting. Say whether height also increases; a pullback alone does not require a climb. |
| Static shot | Hold camera position, orientation and focal length fixed. Subject movement can continue; specify focus separately if a rack is intended. |
| Bullet time | A viewpoint moves around action that appears frozen or extremely slowed. It changes the treatment of time, not merely the camera path; reserve for an intentional stylized beat. |
| Whip pan | A very fast pan with strong motion blur connecting two views. State the landing composition; use a motivated transition rather than repeated arbitrary whipping. |
| Slow zoom in | Gradually increase focal length from a fixed camera position to tighten framing. Does not produce a dolly's changing viewpoint/parallax. |
| Arc left | Travel along a curved path around the subject toward the specified left-side view. Establish the starting view and destination; “left” alone can be ambiguous. |
| Slow zoom out | Gradually decrease focal length from a fixed camera position to reveal more around the subject. |
| Arc right | Travel along a curved path around the subject toward the specified right-side view; establish start and endpoint. |
| Truck right | Translate the camera sideways to its right, producing parallax. It may keep a subject framed with a coordinated pan if explicitly requested. |
| Dolly in | Physically move closer to the subject; perspective and foreground/background relationships change as the framing tightens. |
| Truck left | Translate the camera sideways to its left, producing parallax. |
| Dolly out | Physically retreat from the subject, revealing more space and changing perspective relationships. |
| Slider right | A short, smooth rightward camera translation along a slider-like path; useful for controlled foreground parallax or a restrained reveal. |
| Crush zoom | A sudden fast zoom, usually into a detail or face, for emphasis, surprise or comedy. State direction and endpoint; it is a lens change rather than a physical rush forward. |
| Slider left | A short, smooth leftward camera translation along a slider-like path. |
| Helicopter shot | A camera viewpoint from a helicopter, often a broad aerial travel or survey shot. Specify altitude, direction and target; the platform does not define one fixed move. |

## Choosing and combining

- Ordinary dialogue: consider a static close-up, restrained handheld two-shot, modest dolly in or short slider move. A special effect must have a reason.
- Reveal: select what the audience learns first, then pan, tilt, change height, pull back or rack focus as appropriate.
- Action follow: choose front/side/rear tracking and whether subject size stays stable.
- Describe one dominant move, with justified coordinated actions where required. A dolly zoom intentionally combines two operations; a rack focus can accompany a locked frame.
- Preserve contact, sightlines and eyelines throughout the move. An impressive orbit is a poor choice if it reveals a concealed face or requires an impossible neck turn.
- Treat rig names as desired motion character in a game scene, not literal equipment that should appear in the image.

## Terminology references

These primary references support the distinctions for specialized rigs and lens/travel effects:

- [Snorricam body-mounted camera rigs](https://www.snorricam.com/products).
- [MRMC robotic camera motion control](https://www.mrmoco.com/motion-control/bolt/).
- [Adobe's dolly-zoom explanation](https://www.adobe.com/creativecloud/video/production/cinematography/camera-shots-and-angles/dolly-zoom-shot.html).
- [Adobe Story reference, camera movement glossary](https://helpx.adobe.com/uk/pdf/adobe_story_reference.pdf).