Cutaway

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 very brief shot, often one to three frames, jammed into the sequence for a near-subliminal jolt.

This is for a motion graphics video. Add a "Flash Cut" to [scene]: jam a shot lasting only a few frames into the sequence, then snap straight back.
It should register as a jolt more than as an image — unlike a cutaway, the viewer gets no time to read it.
Fit the sequence into [duration], and make the inserted shot differ strongly in brightness from the shots around it so the flash is felt.

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.

The picture gradually darkens to black or emerges from black, with no second shot overlapping.

This is for a motion graphics video. Close [scene] with a "Fade" (also called a fade out or fade to black): the picture gradually darkens to black.
Fade to plain black with no second shot showing through — unlike a dip to black, it does not carry on into another shot. For a fade in, run it the other way and let the picture emerge from black.
Run the fade over [duration], at an even pace.