Best way to give camera direction

The best way to give camera directions is NOT to give them directly at all. You wanna show a crowd? Just describe what you see in your mind's eye. That's what the reader will see, and that's how they'll translate it to film. Mentioning the camera in your script distracts from the story and breaks the flow (not to mention uses up a precious portion of your 110 pages). Leave the direction to the director - he knows what he's doing - just use your words to direct his mind's eye without him even noticing!

If you give me a little more on your scene, perhaps I could try to give you a little more in the way of example...

yup

and when you want to change to POV of the camera then just make a paragraph break in your action lines.

May we assume your question refers to writing a spec script as opposed to something you're planning to direct yourself?

Moving through the crowd...
Flying above the crowd...

Whatever you want the reader/audience to see.

-Derek

INT: BASKETBALL GYMNASIUM - DAY

The stands of Jackson High's bleachers are lined with kids - Tall Jocks in their letter sweaters, goth kids in their black clothes and piercings, the nerds with glasses and pocket packs - all eyes are glued on Principal Skinner.


EXT:MARKET STREET - DAY

Dawson moves through the crowd, his eyes scan for Lacey.

Tall merchants with dark eyes and dirty beards, women carrying strange baskets on their heads, tiny urchins grabbing greedily at his pockets, all press around him.

Never, ever reference the camera in your spec script.

A shooting draft, that's something different.

Camera directions are like wrylies (parentheticals) and adverbs: if you use them, you'd better have a good reason. They're frowned upon so just prepare to defend including them in a spec script.
Having said that, my experience is they fall into the realm of action sequence formatting. The Nicholls formatting rule book lumps action moments as mini-slugs. I wonder if this is close (I'm not including pro scripts for legal reasons, but get a bunch and read them for better info):

She jumps in

THE CAR

and slams the gas.

The car charges us, cueing the OPENING CREDITS.

EXT. ENGLISH GARDEN - DAY

Swoop under remaining opening credits of a huge immaculate
yard, towards the centerpiece - an inground pool with marble
deck. A huge man lounges to one side reading the Economist,
not a care in the world - this is THE EARL (50), gray and
chubby, fabulously wealthy and decadent as only European
royalty dare to be. A BUTLER, ERNEST serves him a tall white
drink, and makes himself scarce. An uptight man in a suit
approaches; this is JULIAN, the estate’s financial director.