Natural Wipe

A cut disguised so the viewer does not notice it, often hidden behind a dark object or camera move to fake one continuous take.

This is for a motion graphics video. Hide the join between two takes in [scene] with an "Invisible Cut": disguise the cut so the footage plays as one continuous take.
Let a dark object fill the frame while the camera keeps moving, cut in that moment, and pick up the same movement at the same speed on the other side — unlike a natural wipe, the viewer should not notice that anything changed.
Fit both takes into [duration], and keep the camera speed steady through the hidden cut.

The outgoing shot peels or turns away like a page, uncovering the next shot behind it.

This is for a motion graphics video. Join two shots in [scene] with a "Page Peel" (also called a page curl, or a page turn when the whole side lifts): the outgoing shot lifts from one corner and peels away like a sheet of paper, uncovering the next shot lying underneath.
Show the back of the page as it folds over, and keep the shot underneath still — unlike a plain wipe, the old picture reads as a physical sheet being lifted off.
Run the transition over [duration], easing in as the corner lifts and out as the page leaves the frame.

An instant jump to a tighter frame of the same subject along the same line, with no zoom travel between the two sizes.

This is for a motion graphics video. In [scene], use a "Punch In" (also called a cut-in or axial cut): cut instantly to a tighter frame of the same subject along the same line.
Show no zoom travel between the two sizes and let the action carry on without skipping time — that is what separates it from a zoom and from a jump cut.
Fit it into [duration], and put the cut on the word or detail that should get the emphasis.

A dissolve with a wavering, water-like distortion on the picture, traditionally signalling a flashback or imagined event.

This is for a motion graphics video. Join two shots in [scene] with a "Ripple Dissolve": dissolve from one shot to the next while the picture wavers like the surface of water.
Let the ripple build up on the outgoing shot, hold through the overlap and settle on the incoming one — unlike a plain dissolve the picture bends while it blends, and unlike a defocus transition it stays sharp.
Run the transition over [duration], with the waves flowing gently in one direction.