Camera presets

Every preset in the Camera slot of Create video, with what it adds to the shot. Use it to find the move, angle, framing or lens you have in mind, or to learn what a name means before you pick it.

Using camera presets

In Create video, click Camera in the row of buttons above the prompt, select one or more presets and click Add. Each preset appears as a chip in the prompt; click its × to take it off. You can also type @ and a preset's name in the prompt to place it at that point in the sentence. A preset adds a written direction to your prompt, so it works with any video model that takes a prompt, and it has no weight to set.

Combining presets

• Build a shot from one preset of each type: a movement, an angle, a framing and a lens. Dolly In with Low Angle, Medium Shot and 35mm Moderate Wide describes a complete setup.
• Use one movement per clip. For a locked-off shot pick Static or Fixed Cam, so the model does not add a drift of its own.
• Match the move to the clip length. Slow moves (Slow Zoom In, Slider Shot) suit four to six seconds; big moves (Orbit 360, Aerial Pullback) need the whole clip to land.
• For a move that starts from your art, add a first frame. The move then travels from your composition rather than one the model invents.

Camera movement

What the camera does while the shot runs: rotating on the spot, travelling, flying, zooming. Pick one move per clip; two moves pull the camera in different directions and the model usually settles on neither.

Pan

The camera yawing on a fixed point, sweeping horizontally without travelling anywhere.

Pan Left

A horizontal rotation to the left from a locked position.

Pan Right

A horizontal rotation to the right from a locked position.

Tilt

The camera pitching up or down on a fixed point, the horizon sliding through frame.

Whip Tilt

A violent vertical snap that smears into motion blur and arrives somewhere new.

Camera Roll

The frame rotating around the lens axis, as though the world had lost its footing.

Dutch Roll

Rolling into a cant during the shot, so a level horizon gradually goes wrong.

Fixed Cam

Position and tilt locked, so every bit of motion in frame belongs to the world.

Dolly

The camera body itself travelling on wheels, so the viewpoint genuinely changes.

Push In

Moving closer to the subject, so they grow in frame and the world narrows to them.

Pull Out

Moving away, so more of the world arrives and the subject is placed in it.

Trucking

A lateral dolly: the camera sliding sideways alongside the action.

Slider Shot

A short precise linear move on a compact rail, usually a metre or less.

Pedestal Up

The whole camera rising vertically with the tilt unchanged.

Pedestal Down

The whole camera lowering vertically with the tilt unchanged.

Jib Shot

A short pivoting arm raising, lowering or sweeping the camera a few metres.

Crane Over

Lifting and arcing on a crane until the camera looks down on what it was level with.

Conveyor

Relentless lateral travel at constant speed, as though the world were on a belt.

Tracking Shot

Moving with a subject (beside, ahead of or behind them), holding them as they go.

Follow Shot

Trailing a moving subject at a fixed offset, usually from behind.

Walk and Talk

Moving with people in conversation, leading or flanking them at their own pace.

Locked-On

One face or object glued to its spot in frame while everything else streams past.

Choreographed Camera

Bodies and lens timed as one phrase, the move and the blocking written together.

Wandering Camera

A drift near the subject that reads as curiosity: a search with no fixed target.

Steadicam

A stabilised sled and vest: a walking operator whose footsteps never reach the frame.

Gimbal Shot

Motorised stabilisation giving glassy smooth movement, handheld or vehicle-mounted.

Hero Cam

A low three-quarter tracking walk with rim light: an arrival, played straight.

Bolt Cam

An ultra-high-speed camera hurled along a rig toward an impact.

Buckle Up

The lens strapped into the cabin with the subject, so the vehicle's motion is the camera's.

Road Rush

Low to the asphalt with speed as smear: headlights, lane markings, tarmac.

Falling

The lens dropping through air with weight and wind behind it.

Aerial

A high flying camera reading a large area, so geography becomes the subject.

Aerial Pullback

Rising and receding until a person or building becomes a detail in the landscape.

Aerial Push In

Starting high and descending or tightening until one figure resolves out of the whole.

Earth Zoom

A continuous rush from satellite scale down to a single location on the ground.

Flying Cam Transition

One unbroken flight that punches through a wall or window into the next space.

Pass Through

Travelling through a wall, a window or a body as though matter offered no resistance.

Arc Right

A partial orbit to the right, roughly a quarter turn around the subject.

3D Rotation

The subject treated as an object on a virtual turntable, revolving for inspection.

Omnidirectional

Spherical capture, where the viewer owns the direction of the look.

Zoom

Focal length changing with the camera still: space flattens or opens without moving.

Slow Zoom In

Focal length creeping longer, so the frame tightens almost imperceptibly.

Slow Zoom Out

Focal length creeping shorter, letting the surroundings arrive slowly.

Rapid Zoom In

A focal-length snap so fast it reads almost as a cut.

Rapid Zoom Out

A snap from the subject to wide, the environment arriving all at once.

Dolly Zoom

Moving and zooming in opposition, so the subject holds size while the background warps.

Eating Zoom

A crash into the bite, with the food as the last thing in the foreground.

Parallax

Near and far moving at different rates, so depth is proved by the movement itself.

Arc

A smooth curved travel around the subject, holding them as the background swings.

Arc Left

A curved travel to the left around the subject.

Car Chasing

A pursuit held at speed, the camera moving with the chase rather than watching it.

Car Grip

Rigged low alongside a moving car, tyres and tarmac filling the near frame.

Crane Down

Descending from height to meet the subject.

Crane Over The Head

Lifting and sweeping over the subject, passing above them.

Crane Up

Rising up and away, opening the scene out as it goes.

Crash Zoom In

A violent snap of focal length straight onto the subject.

Crash Zoom Out

A violent snap of focal length away, the surroundings arriving at once.

Dolly In

The camera body travelling toward the subject on wheels.

Dolly Left

A lateral track to the left on a wheeled base.

Dolly Out

The camera body travelling away from the subject on wheels.

Dolly Right

A lateral track to the right on a wheeled base.

Dolly Zoom In

Pushing in while zooming out, so the subject holds size and the background stretches away.

Dolly Zoom Out

Pulling out while zooming in, so the subject holds size and the background crowds in.

Double Dolly

Camera and subject gliding past each other in opposite directions.

Eyes In

A push that does not stop until it is inside the subject's eyes.

FPV Drone

A first-person drone weaving through the space at speed.

Handheld

A camera carried by a person, with the small corrections that implies.

Head Tracking

The frame locked to the subject's head as they move.

Hyperlapse

A time-lapse that travels, so space and time compress together.

Jib Down

A short arm sweeping the camera downward.

Jib Up

A short arm sweeping the camera upward.

Lazy Susan

The subject turning on a turntable while the camera stays put.

Mouth In

A push that carries on into the subject's open mouth.

Orbit 360

A full revolution around the subject, all the way back to where it began.

Robo Arm

A motion-control arm executing a fast, repeatable mechanical move.

SnorriCam

The camera rigged to the subject's body, so they stay fixed and the world swings.

Static

The camera locked off, contributing no movement at all.

Super Dolly In

A dolly push at far more than walking speed.

Super Dolly Out

A dolly pull at far more than walking speed.

Through Object In

Passing through a foreground object to arrive at the subject.

Through Object Out

Retreating back out through a foreground object.

Tilt Down

A downward pitch from a fixed position.

Tilt Up

An upward pitch from a fixed position.

Whip Pan

A horizontal snap so fast the frame smears between where it was and where it lands.

Wiggle

A small energetic jitter, playful rather than nervous.

YoYo Zoom

Focal length bouncing in and out on a repeating beat.

Zoom In

Focal length lengthening smoothly with the camera still.

Zoom Out

Focal length shortening smoothly with the camera still.

Camera angle

Where the camera sits relative to the subject: its height, its tilt and whose eyes it looks through. An angle reads as power, intimacy or unease before anything moves.

Bird's-Eye View

Looking steeply down from a height until people and furniture read as a map rather than a room.

Eye Level

The lens at the subject's own eye height with a level horizon: the neutral, equal relationship.

First-Person

The lens acting as a character's body: hands entering frame, breath and weight, a viewpoint that owns itself.

Fourth Wall

The subject's eyes aimed into the taking lens, so the frame admits there is someone watching.

Ground Level

The lens almost on the floor, so boots, hems, wheels and the ground itself carry the shot.

High Angle

Looking down at the subject from above the eyes, an oblique pitch rather than a full overhead.

Hip Level

The camera at belt height, where hands, gait and whatever is holstered share the centre of the frame.

Incline

A few degrees of roll: a floor that slopes rather than the full lean of a Dutch angle.

Low Angle

Looking up at the subject from below the eyes, so verticals converge and the subject gains scale.

Point of View

What a character optically sees, from where their eyes are: their sightline, not their body.

Profile

The camera square to the side of the head, so the jaw and nose draw the subject as an outline.

Reverse Angle

The same spatial relationship seen from the opposing side, completing what the first setup withheld.

Shoulder Level

Just below the eyes, at the height of someone walking beside the subject rather than facing them.

Three-Quarter Angle

The face turned about 45 degrees to the lens, so both eyes stay readable and the head keeps its volume.

Trunk Shot

Shooting up out of a trunk, pit or box at the people looking in, framed by the opening itself.

Worm's-Eye View

Sharply upward from the ground or below the subject, a low angle pushed to its extreme.

Dutch Angle

The camera rolled on the lens axis so verticals and the horizon tilt, breaking the frame's relationship to gravity.

Object POV

The viewpoint of a moving object rather than a person: what the arrow, the ball or the bullet sees.

Framing

How much of the subject the frame holds, from one eye to a whole landscape, and how many people share it.

Extreme Close-Up

One small feature filling the frame (an eye, a mouth, a fingertip), so a detail carries the whole shot.

Choker Shot

The face from hairline to chin, tight enough to clip the top of the head and leave nowhere to look away.

Close-Up

A face framed tightly enough that expression outranks everything around it.

Medium Close-Up

Chest or shoulders upward: the default size for dialogue, where face and a little posture both read.

Medium Shot

Roughly waist up, so the face and the hands share the rectangle and gesture becomes available.

Cowboy Shot

Mid-thigh upward, cut so the hands stay in frame at the holster line.

Full Body

A figure held head to toe, complete, with a readable strip of ground and setting around it.

Long Shot

The whole subject plus a substantial share of the environment, so place and person argue on equal terms.

Wide Shot

The subject in full surroundings, bodies small enough that the place still gets to speak.

Extreme Long Shot

Scale and geography dominant, the figure reduced to a mark that proves how large the world is.

Establishing Shot

The frame that tells you where you are: location, geography, hour and social register, before anything happens.

Master Shot

One setup covering the whole action and the whole geography, the spine the rest of the coverage hangs on.

Two-Shot

Two subjects in one frame, so the distance and posture between them becomes the content.

Three-Shot

Three subjects framed together, usually so the alliance and the odd one out are visible at a glance.

Group Shot

An ensemble framed as a single relational unit, where position inside the group is the information.

Single

Coverage of one principal alone in frame, cut against the others rather than sharing with them.

Over-the-Shoulder

A near shoulder or head held dark in the foreground while the far subject carries the focus.

Reaction Shot

The listener rather than the speaker: the important action is a face receiving something.

Insert Shot

A close view of a story-bearing detail: an object, a hand at work, a screen, a line of text.

Cut-In

A move to a closer detail of something already inside the wider frame.

Cutaway

A step away from the main action to a related detail or observer in the same world.

Gesture

A shot sized and timed around one expressive movement: a hand, a glance, a shift of weight.

Interview

A talking-head setup: steady size, eyeline just off the lens, an unseen listener implied.

Video Portrait

A patient, plainly covered study of one person, held long enough that the face stops performing.

Product

An object framed and lit the way a portrait treats a face: hero angle, clean ground, edges described.

Lens

Focal length and glass. A lens decides how space is drawn: how close the background feels, how faces are shaped, how much is sharp and what the out-of-focus areas look like.

14mm Ultra-Wide

A very short focal length taking in far more than the eye, stretching whatever sits near the edges.

24mm Wide

Wide enough to hold a person and the room they are standing in, with perspective still believable.

35mm Moderate Wide

The common narrative wide-normal: natural perspective with room left around the subject.

50mm Normal

The neutral prime: from an ordinary distance it neither stretches nor stacks.

85mm Portrait

A short telephoto shot from further back, so a head and shoulders sit flattered against a soft ground.

135mm Telephoto

A long lens from a distant stand, stacking the planes and lifting the subject off the background.

200mm Long Telephoto

An extreme long lens from far away, pressing depth flat until foreground and distance share a plane.

Telephoto Compression

The stacking a distant viewpoint produces: background hauled forward until it crowds the subject.

Anamorphic

Optics that squeeze the image at capture and stretch it back on projection, with the oval bokeh and horizontal flares that come with it.

Spherical

Rotationally symmetric glass with no squeeze: round bokeh and a plain, undemonstrative rendering.

Macro

Close-focusing optics that let a small surface fill the frame at high magnification, with depth of field down to millimetres.

High Magnification

The subject rendered larger on the sensor than it is in life, so texture becomes landscape.

Probe Lens

A long, narrow macro optic that can pass through tight spaces and stay close while it travels.

Split Diopter

A half element that holds a near and a far subject sharp at once, with a visible seam between them.

Tilt-Shift

The lens tilted off the sensor plane so focus rotates through the scene and the world can read as a model.

Vintage Cine Glass

Older motion-picture optics: lower contrast, softer corners, and aberrations modern glass corrects away.

Fisheye

An ultra-wide that keeps its field of view by bending straight lines instead of stretching them, bowing the world outward from the centre.

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