| Cut | The most basic unit of film editing; a transition where one shot is instantly replaced by another. |
| Continuity Editing | Techniques used to maintain smooth, clear, and logical flow from one shot to the next within a scene. |
| Jump Cut | An abrupt transition between two sequential shots that breaks the continuity of time or space. |
| Montage | A series of short shots edited into a sequence to condense time, provide information quickly, or create symbolic meaning. |
| Dissolve | A transition between two shots during which the first image gradually disappears while the second image gradually appears. |
| Fade | A transition where the image gradually darkens to black (fade out) or from black to an image (fade in). |
| Cross-Cutting (Parallel Editing) | Cutting back and forth between two or more scenes that are occurring simultaneously. |
| Match Cut | A cut where the two shots are matched by the action or subject matter to create a visual or thematic connection. |
| Non-linear Editing | Editing process where scenes can be accessed and rearranged in any order, not necessarily in the order they were filmed. |
| Rough Cut | An early stage of editing where scenes are roughly in order but not yet polished. |
| Fine Cut | A more refined version of the rough cut, closer to the final edit but still subject to changes. |
| Assembly Edit | The first cut of a film where all the footage is put together in the order of the script. |
| Pace | The speed at which the story unfolds, often controlled by the length of shots and the rhythm of cuts. |
| B-Roll | Secondary footage or supplemental shots that are cut away from the main action, often used to maintain interest or provide context. |
| Voice-Over (VO) | A technique where a voice is heard over the image, often used for narration or to convey a character's thoughts. |
| SFX (Sound Effects) | Sounds added in post-production to enhance the audio environment of the film. |
| Diegetic Sound | Sound whose source is visible on the screen or has been implied to be present by the action of the film. |
| Non-Diegetic Sound | Sound, such as music or a narrator's commentary, that comes from outside the story space. |
| L-Cut (Split Edit) | A transition where the audio from the next scene starts before the visual cut, often used to maintain continuity of dialogue. |
| J-Cut | Similar to an L-cut but the audio from the next scene starts before the visual, typically used to lead into a new scene. |
| Splicing | The physical joining of two pieces of film (though now mostly digital due to non-linear editing systems). |
| Subliminal Cut | A very brief shot inserted into a sequence, often so quick it's perceived subconsciously. |
| Three-Point Editing | A technique where the editor considers three elements: the shot before, the shot after, and the shot being inserted. |
| Rhythm | The timing and flow of cuts, which can affect the emotional impact and narrative drive of a film. |
| Color Grading | The process of altering and enhancing the color of a motion picture, video image, or still image. |