Punch In

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 outgoing shot zooms rapidly toward a point and the incoming shot zooms out from a similar point, as if flying through the cut.

This is for a motion graphics video. Join two shots in [scene] with a "Zoom Transition" (also called a zoom in/out transition): the outgoing shot zooms rapidly toward a point and the incoming shot comes out of the same point, as if flying through the cut.
Keep the zoom going in one direction across both shots and hide the cut at its fastest moment — unlike a punch in, the travel between the sizes is shown, and unlike a camera zoom it ends in a different shot.
Run the transition over [duration], speeding up into the cut and slowing down out of it.

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.

The incoming shot slides over the outgoing one while the old shot stays put.

This is for a motion graphics video. Join two shots in [scene] with a "Slide" (also called a band slide): the incoming shot slides in from one edge and covers the outgoing one.
Keep the outgoing shot where it is while it gets covered — unlike a push, it is not shoved out of the frame.
Run the transition over [duration], and ease it in and out so the new shot settles instead of stopping dead.

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.