Try to avoid repetition, it wastes time.
Moving the camera sideways across a shot is truck, dolly is moving the camera towards or away from a subject.
I like what this chap is saying. Put simply, know the rules: know why you are going to break them. Clear examples too. But why, oh why, does he have to gabble as if he is desperate for a pee? Slow down, pace the narration, give yourself room to emphasise the important snippets. You are not trying to hide the mandatory terms and conditions at the end of a radio advertisement.
I use red tops but avoid the electronic dimmers as they alter the colour temperature. A combination of diffusers, gobos, and distance works better for me. I've used the greaseproof paper trick for years, it gives a good neutral diffusion.
Gels are a problem. There is no good substitute for the expensive stuff unless you are prepared to reduce the light with large coloured diffusers some distance from the light.
I have invested in a CO² extinguisher for the unlikely event of something catching fire. If you are the only one tackling a sudden smoulder moment you will be squirting with live electricity around, so you don't want a water extinguisher. Just be aware, that if it is a paper fire a direct squirt of the CO² might make smouldering flakes spread out. CO² is heavier than air, let it drop onto the flames.
The ROT is a serving suggestion; it won't suit all palettes. I do so wish people would stop saying that it is a good place from which beginners should start. Rather, suggest that we should aim for a balance. For example, stimulate tension by putting an element out of the frame, then resolve by changing the view to include the missing element.
This video concentrates on still photography, missing the dynamics of film. Oh, yes we should compose each shot using the techniques of stills, but we have the addition of time, movement, development, and a host of tricks to tell the story as well.
I think we would do well to concentrate on controlling the elements we can within a scene. Lighting, set dressing, props, actors, movements (things, people and camera), and the relationships between the elements, all combine to make a composition. Slavishly following a pattern engraved in the viewfinder, or the latest wizz from a book or presentation, is not a substitute for developing an organic view, built in your own mind, translated to the screen.
P.S. Tavis Leaf Glover should learn the rule of apostrophes. That glaring error right at the beginning reduces the viewer's belief in everything that follows.