Contrast Cut

One shot is instantly replaced by the next with no optical effect; the baseline every other transition is compared against.

This is for a motion graphics video. Join the shots in [scene] with a "Hard Cut" (also called a cut or direct cut): one shot is replaced by the next instantly.
Put no fade, wipe or any other effect on the cut — unlike a smash cut it is not meant to shock, it is just the plain shot change.
Fit the shots into [duration], and place the cut on a beat or a finished movement so it passes unnoticed.

An abrupt cut from one scene to a sharply contrasting one with no lead-in, used for shock or a punchline.

This is for a motion graphics video. Join two shots in [scene] with a "Smash Cut" (also called a Gilligan cut or bicycle cut): cut abruptly from a quiet shot to a sharply contrasting one.
Give no lead-in — hold the calm shot, then land in the middle of loud, fast action with no fade or build-up; unlike a plain hard cut, the jolt is the point.
Fit both shots into [duration], and let the quiet shot run a little longer than feels comfortable before the cut.

Cuts alternating back and forth between two actions happening at the same time in different places.

This is for a motion graphics video. Edit [scene] with a "Cross-Cut" (also called parallel editing or intercutting): cut back and forth between two actions happening at the same time in different places.
Let both actions keep moving forward while they are off screen, so each return picks up later than where it left — unlike a cutaway, which leaves the main action only once and comes back.
Fit the sequence into [duration], and shorten the pieces toward the end if the tension should build.

A shot that briefly leaves the main action to show something else, then returns to the original shot.

This is for a motion graphics video. Add a "Cutaway" to [scene]: cut briefly from the main action to a shot of something else, then cut back to the original shot.
Keep the main action running underneath so it has moved on when we return — unlike a cross-cut, the second shot appears once and is not a storyline of its own.
Fit it into [duration], and keep the cutaway shorter than the pieces of the main shot around it.

The outgoing shot is blurred out of focus and the next shot is pulled into focus, hinting at dreams or time passing.

This is for a motion graphics video. Join two shots in [scene] with a "Defocus Transition" (also called a defocus or blur transition): the outgoing shot drifts out of focus until it is a soft blur, and the next shot is pulled into focus out of that blur.
Swap the shots while the picture is at its softest so the change itself is never seen sharp — unlike a dissolve, the two pictures do not overlap in focus, and unlike a dip to black the screen never goes to a solid color.
Run the transition over [duration], blurring out and focusing in at the same gentle pace.