I try to keep the cameraman in mind and what type of camera setup is being used. This usually helps avoid cameras whipping around to quickly or changing vertical height. Beyond that, keeping your camera on two axis (dolly/pan for example) helps keep the movements more grounded in reality.
From a technical / Maya stand point: -setting the camera type from User to 35mm Academy -starting with a focal of 27 -try to avoid anything less than a 50 for close ups on faces (starts to distort too quickly below that) -always work with a camera rig, even if its parenting the camera under a few groups. From here you'd lock the camera channels so it can't be nudged when looking through it in the viewport, and you can keep your shake on a group outside your cameras moves
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I periodically revisit this channel and always pickup things I missed before https://www.youtube.com/user/everyframeapainting
Simon Unger has good things to say about game cameras:
From a technical / Maya stand point:
-setting the camera type from User to 35mm Academy
-starting with a focal of 27
-try to avoid anything less than a 50 for close ups on faces (starts to distort too quickly below that)
-always work with a camera rig, even if its parenting the camera under a few groups. From here you'd lock the camera channels so it can't be nudged when looking through it in the viewport, and you can keep your shake on a group outside your cameras moves
Lastly, give this a watch, worth it's weight in gold
https://www.hollywoodcamerawork.com/hot-moves-the-science-of-awesome.html