The first traveling is attributed to Alexander Promio operator Lumière brothers in 1896, filmed Venice from a gondola sailing on the Grand Canal, which Louis Lumière calls a "panoramic Light"

Many other shots, in which the camera moves are executed from the public success of the spool of Promio. Used boats, automobiles, trains, elevators, cable cars, treadmills, sleds, aerostats, and finally airplanes. Georges Méliès, whose principle was to determine once and for all the position of his camera in his glass studio, uses a special magnifying effect to give the impression (for inflation - The Man with the rubber head or by displacement - A Trip to the Moon): it puts the object to grow to a carriage that its machinists closer to the camera. It is, one might say, the opposite of traveling.

In 1903, Alfred Collins, who works for the London subsidiary of Gaumont, realized in self in Marriage (The Runaway Match) a car chase through a vehicle (continued) to another (prosecutor), never seen mounting the time, and is obliged, for the public to understand the simultaneity of plans, to indicate the transition from one car to another, by intertitles: "pursued car", "car pursuers"

In 1912, several American films have recourse systematically to a series of onboard tracking shots to create breathless prosecution, during which the prosecutor pursued-pass does not need to be stressed because since the first film by DW Griffith (The Adventures Dollie), the filmmakers know how it is said but simultaneous actions taking place in the different places (parallel connection), a narrative technique borrowed from literature, to which the public is now familiar. Confederate Battleship, directed by Kenean Buel, The Girl and The Beast and his promise of the bay, directed by DW Griffith showcase the camera in motion Travel is appointed at that time by the means used to carry them out.

And, again in 1912, Oscar Apfel for Thomas Edison makes a film whose screenplay is based on several flashbacks: The Passing. Tracking shots have another function here that the dynamism of the chase. They are the first of those called in the 1950s, "psychological tracking shots." Apfel uses the movement of the camera in front and back on a carriage to approach the actor in state history or the return of flashback. The camera "greenhouse" and (and "loose") on the face of the actor to "get into his head" or "out"

Two years later, in 1914, the Italian Giovanni Pastrone uses the process for its monumental movie Cabiria, with descriptive tracking shots where the camera moves repeatedly and at length to a setting or group of actors. This is the carrello (carriage), which still means today in Italy on traveling