Invisible Cut

A foreground object, such as a wall, a person or a passing vehicle, crosses the lens and hides the cut to the next shot.

This is for a motion graphics video. Join two shots in [scene] with a "Natural Wipe" (also called frame blocking or an invisible wipe): a foreground object passes right in front of the lens and the next shot is already there behind it.
Keep the changeover hidden under the object the whole way across, so the object itself seems to wipe the old shot off — unlike a plain wipe there is no drawn edge, and unlike an invisible cut the viewer is meant to see that the scene has changed.
Run the pass over [duration], with the object moving at a steady, natural speed.

A cut within the same framing that skips a slice of time, so the subject visibly jumps in position while the camera stays put.

This is for a motion graphics video. Edit [scene] with a "Jump Cut": cut forward in time within the same shot.
Keep the camera and framing unchanged and let the subject snap to a later position at each cut, with no transition between the pieces.
Fit the sequence into [duration], and place the cuts on beats so the jumps read as deliberate rather than as glitches.

The next shot appears through the outgoing shot's brightness, so dark (or bright) areas switch over first.

This is for a motion graphics video. Join two shots in [scene] with a "Luma Fade" (also called a luma wipe or gradient wipe): let the next shot come through the outgoing shot according to its brightness, darkest areas first and brightest last.
The change should follow the shapes in the picture — shadows and dark objects turn into the next shot while the bright areas still hold — unlike a dissolve, where the whole frame blends evenly.
Run the transition over [duration], sweeping smoothly from dark to bright with soft edges between the stages.

A cut between two shots whose shape, color, position or action line up, so one visually becomes the other.

This is for a motion graphics video. Join two shots in [scene] with a "Match Cut" (also called a graphic match or match on action): cut between two shots whose shape, position or movement line up.
Put the main shape of the second shot exactly where the first one was, at the same size and moving the same way, so one seems to turn into the other on the cut — with no morph or dissolve between them.
Fit both shots into [duration], and cut in the middle of the shared movement.