Now I'm not sure if CS4 is is similar to CS6 (the version I'm using) but if so, here's the basics. To achieve digital camera movement, you can use keyframes to animate a zoom, dolly, rotation, etc. in AE. This is found after you've turned your shot into a composition. Then, go to the clip's drop down menu and find the scale button. Click the stopwatch to set a keyframe on the first frame, then go to the last frame of the zoom, and scale the clip up/down. That should give you another keyframe. And if you want to ease in and out of the zoom, right click on the first keyframe before creating any more, and go to keyframe assistant -> easy ease. This can also be applied to the position, rotation, etc. for other camera movements. Hopefully, this makes sense.

2nd place Darkness and Light entry: The Tree
Behind the Scenes

Hey Legoguy501 thanks for your response, I'll plan at reading over it more when I get a chance to animate.
Sorry for my late response I've been out these last couple of days and had no internet access thanks again for your response!

EDIT: And there quite similar besides new features on AE6.

HoldingOurOwn I agree.

Sincerely,
Divine.

In my opinion post production camera movement is a horrible thing.  I would highly recommend not ever doing it.  It would be better if you just let it be.
Whisper words of wisdom, let it be.

There's a certain weird look to post camera movement which I feel gives the film a very cheap looking aspect.  If the camera is still the whole time it's doubtful anyone would notice since it's a brickfilm, though.

You can't really ever get post camera movement to look realistic.  The objects don't move properly in relation to each other.  But, if you do want to try your hand at production camera movement, I have created a tutorial upon the subject detailing my techniques for it: Link

I agree with Squid in that post-prod camera movement looks worse than production camera movement, and should be avoided if you can.

Unfortunately for me, my uneven and creaky floorboards (which have a habit of moving underfoot) mean that for the moment, animating camera movement is far more trouble than it is worth, and looks terrible at best. I have a glide track but my tripod isn't  sturdy enough to support it. So at the moment, I do use post-production camera movement, but it's not necessarily a good thing. I'd rather have camera movement than none at all.

What I'm trying to say is don't write it off as it is still an option, but don't rely on it. Try all you can to actually animate camera movement. It looks so much better.

"Nothing goes down 'less I'm involved. No nuggets. No onion rings. No nothin'. A cheeseburger gets sold in the park, I want in! You got fat while we starved on the streets...now it's my turn!" -Harley Morenstein

I have found that there are ways to make post production movement work. First, don't overdo it. Some subtle moves are best, and they work well when combined with movement done in animation. Second, I have noticed that many people will use two key frames and that's it. The camera zooms out or moves from left to right. Cool. But if you watch actual films, camera movement isn't perfect. There are bumps and jolts that are subtle, but noticeable. Don't be afraid to add some "grit" to your post production movement by utilizing more key frames. Also, study how cinematographers use movement in good films. Many times I have noticed that a move will look hideous when used in one situation, but will work fine when timed with the animation correctly.

C920's are easy to build dolly rigs for, it's only the more complex motions that get tricky.
Just take Squid's tutorial copy the rig, and instead of having a huge camera platform on the end, just widen the track after a few studs, make it 4 wide, and put your camera on some 2x4's. Done. (Do you need pictures, or did that explain well-enough?)

You can do zooms, and dolly shots in all sorts of directions. It's great, and easy to animate.

For saved I did a spinning shot coming down to a person and what I did was I put my set on gears so it could spin and propped it up like a wall and then put my camera on a stand and moved it forward just slightly each frame as I also spun the set. I had to retake it a few times but in the end it ternd out prity cool. Also for walking just make a point on the camera for were you want your minfig to be and then just as he is walking just keep on moving the camera with him so he is alwase on that point. And camera movement rigs like Prichard was talking about also really help.

Hope this helped. 
OsomStudios

I guess I'm not the only one who thinks this way.

2nd place Darkness and Light entry: The Tree
Behind the Scenes

Ah, yeah...Sorry about the confusion. I meant track as in the thing the camera sits in.
Pic 1, Pic 2, Pic 3, Pic 4.

That about as clear as mud now?