The camera is a character.
Pick a move. The viewfinder shows what the audience sees; the floor plan shows what the camera actually did. The two are not the same thing, and that gap is where the craft lives.
Direct emotion you can see.
“Look sad” is not a direction. Each performance here is written as what the face and body actually do (brows, lids, mouth, head, breath, hands) so it can be asked for, checked, and repeated. Explode one to read its parts.
A move and a face, together.
A camera move on its own is a sentence with no subject. These are the pairings cinema keeps coming back to. Press one to run both at once.
One scene, every part named.
Jurassic Park (1993), the first dinosaur. Press play and follow the breakdown: which camera move is on screen, which face, and why that order. Click a beat to jump to it; click a chip to load that move or that face into the consoles above.
How long can one shot hold?
The tracking shot's purest form is the take that never cuts. Bars are approximate seconds on a log scale; solid bars are true single takes, hatched ones hide their cuts.