Combinations that feel like a camera op
who never blinks.

Follow the ball when the camera can’t

Wide court coverage is great for broadcast — terrible for vertical. Scrub to the serve, set Default keyframe transition → Sport, switch to Keyframe, then tap where the player (or ball) should live in the 9:16 frame. Sport holds, then fast-pans into the next pin — perfect when the subject jumps faster than a handheld op can pan. Slow playback to nail the contact point.

• Drop a pin on the server, then one on the returner as the rally crosses.
• Use short gaps (1–2s) for whip-pans; longer holds when the rally settles.
• Pinch-zoom while playing to tighten on the athlete without losing the Sport feel.

When the object is too fast for the cameraman

Cars, drones, stunts, fight beats, anything that exits frame before a live operator can catch it — Keyframe + Sport is your “virtual steadicam.” Lay pins ahead of the motion path so the crop anticipates the subject instead of lagging behind. After the path is down, switch to Hand and nudge individual pins if one overshoots.

• Paint a continuous Keyframe drag for fluid chase paths; Sport still applies per pin.
• Mark hard story beats with Movie on that pin only (tap the pin → change transition).

Jump cut speaker → speaker

Set Movie as the default, then tap Keyframe on each face as they talk. Movie holds the previous crop and cuts clean at the pin — classic multi-cam energy from a single wide. For two hosts, flip Keyframe view → Dual and frame Top / Bottom subjects separately.

Gentle glides that feel intentional

Product demos, explainers, walkthroughs: Smooth eases between pins so the crop drifts like a slow push-in. Two or three well-placed pins beat fifty noisy ones.

Let Vision lock, then polish

Park the playhead where the person is clear, choose Track, tap them once. On-device tracking lays the path; switch to Hand afterward to fix any drift at edges.