The camera itself accompanies the movement of an object during a following shot. A track, crane, or hand-held shot can lead a moving figure into space, pursue a figure from behind, or float above, below, or alongside. Intricate following shots may be motivated by the movements of more than one figure.

Because of its ability to reveal or conceal space, camera movement often participates in the creation of suspense and surprise. In Strangers on a Train (1951), a point-of-view editing pattern places the viewer in the optical perspective of Guy (Farley Granger) as he approaches a dark staircase to warn a father of his son's murderous intentions. The director Alfred Hitchcock (1899–1980) then varies the editing pattern by craning up from Guy to disclose a menacing dog waiting on the landing above. The independent camera movement informs the viewer of an obstacle unknown to Guy, raising the question of whether he will be able to reach the father—thus heightening suspense.

Sometimes camera movement positions the viewer as an objective witness to unfolding events.

Very slow camera movements within long takes focus the viewer on the passage of time and build narrative expectation. When this happens, the camera movement situates the viewer as a curious inhabitant of the narrative world, linking simultaneous events in adjacent spaces and integrating the protagonist's preparations for death with a joyous celebration of life.

Camera movement can also be used to illustrate a character's subjective experience. This is used very effectively in ‘Friday 13^th’ when Michael climbs down the stairs in his ‘fancy dress’ having just murdered his sister. The framing is classically framed by the outline of Michael’s face mask.