Tilt

The camera looks up or down without going anywhere, so the audience is shown the vertical extent of something from one position. It is how a scene says tall, or deep, or far below.

Because nothing travels, the viewer stays put and only the attention moves. That reads as a person raising their eyes rather than as a camera crossing a room.

The camera pivots vertically on its mount. The height of the lens never changes, so the perspective on everything in frame stays exactly as it was.

The move works best when it crosses something continuous. A wall, a staircase, a length of rope, a body. A tilt across empty air has nothing to measure itself against.

Rest at both ends. A held frame, the pivot, then another held frame, so the audience reads the two positions as a pair rather than as one drifting shot.

Use it to show height or depth from a fixed spot, to reveal what is above or below a subject, and to move between a face and what the hands are doing.

Avoid it when the height needs to be experienced instead of seen. Looking up at a tower is a tilt. Going up the tower is a crane.

Crane Up lifts the camera, so the angle on everything changes as it rises. A tilt keeps the camera at one height and only turns the lens.

A pedestal raises the body with the lens kept level. The check is the horizon line. In a tilt it swings through the frame. In a pedestal it stays where it is.

The model lifts the camera instead of turning it, which turns a tilt into a crane. Say the camera pivots on a fixed point and the lens height does not change.

The second failure is a tilt with no shape. Give the start of the sweep and the end of it, because a vertical drift with no destination reads as a mistake.