Cross-Cut

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.

A run of many short shots in quick succession that compresses time or information into a few seconds.

This is for a motion graphics video. Build [scene] as a "Montage" (also called rapid cuts or dynamic cutting): a run of many short shots in quick succession.
Give every shot a different image and only a moment on screen, joined by plain cuts, so together they compress a long stretch of time — unlike a cross-cut, the shots do not alternate between two fixed actions.
Fit the whole run into [duration], and keep the cutting rhythm steady and on the beat.

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.

The outgoing shot fades to a solid color, usually black or white, and the next shot fades in from it.

This is for a motion graphics video. Join two shots in [scene] with a "Dip to Black" (also called a dip to white, wash or washout when the color is white): the outgoing shot fades to a solid color and the next shot fades in from it.
The two shots never overlap, and for a moment in the middle the screen is nothing but the solid color — unlike a plain fade, it carries on into the next shot.
Run the transition over [duration], split evenly between the way out and the way in.