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Film Transitions

Editing · Film language

Film Transitions

Also called: editing transitions, scene transitions, video transitions

Film transitions are the ways one shot or scene hands over to the next: the plain cut, the dissolve, the fade, the wipe, the match cut and hidden or stylized moves like whips and crash transitions. Each one tells the viewer something different about time, space and how the two shots are connected.

Watch first: the whole guide in 1:30, hosted by Yaro

Video script

Put the star wipe down. We talked about this. I'm explaining film transitions and you're holding a star.

Every edit has two sides. A transition is whatever happens at that seam. Mostly nothing. That's a cut.

It's punctuation. A cut is a comma. A dissolve, a semicolon. A fade, a full stop. A wipe is a flourish.

Each one also claims a time. My coffee. A cut says now: still hot. A dissolve says later.

Give that back. A fade says a real gap, a new chapter. How long was that?

A match cut joins two shots by shape. The famous one: a bone becomes a satellite. My editor tried pizza dough. Same tool, apparently.

A crash transition hits the join with zoom, flash and noise. In a quiet drama it reads as a gag. He's pouring tea.

Hidden wipes get planned. A dark coat crosses close to the lens, you cut in the black.

A model won't cut, it animates one frame. Generate both halves, and write: his coat fills the entire frame edge to edge. I'm hiding in there.

He's back. With no reason, the star reads as a template. This is a funeral. If you can't say what it tells the audience, cut.

Cut. Beard gone, coffee hot. I've cut on you all video and you noticed nothing. You only noticed the ones that hurt. Scroll down.

What it does: Controls how the audience crosses from one shot or scene to the next, and what that crossing means.
Use it when: You need to mark a jump in time or place, link two ideas, change energy, or hide the join between shots.
Watch out: A decorative transition with no reason behind it reads as a template; most joins should be plain cuts.
Try this prompt: Locked-off night street, a passerby in a black wool coat walks right to left across the lens and fills the frame with black for an instant

Film Transitions in Ariana Grande - Positions — *Ariana Grande - Positions* music video: from a dim bedroom the camera whips sideways into a smear, lands on a figure at a tall window, then whips again onto a press-room podium, each cut hidden inside the blur.

What are film transitions?

Every edit has two sides: the last frame of the outgoing shot and the first frame of the incoming one. A transition is whatever happens at that seam. Most of the time nothing happens at all. The picture simply changes on a single frame, and that is a cut, the default join in film editing. Everything else makes the seam visible, or hides it deliberately.

Think of transitions as punctuation. A cut is a comma: the sentence keeps moving. A dissolve is a semicolon, a softer pause that links two thoughts, often across time. A fade to black is a full stop, sometimes the end of a chapter. A wipe is a flourish that announces itself.

Transitions happen in two places. Some are built in the edit: dissolves, fades, wipes and digital effects, laid over the join in the timeline. Others are built on set: a camera whips away and a second camera whips in, an actor's dark coat covers the lens, a wall slides aside and reveals a new room. The second kind has to be planned before the shoot.

What are the main types of transitions in film?

Cut. An instant change on one frame. Invisible when it follows action; jarring on purpose as a jump cut or a smash cut.
Dissolve. The outgoing shot fades out while the incoming shot fades in over the same frames, so for a moment both are on screen. The drain in Psycho (1960) dissolving into Marion's eye is the classic graphic dissolve.
Fade. The picture goes to or comes up from black (or white, or another color).
Wipe. A moving edge pushes one shot off the screen and replaces it with the next: a straight line, a clock hand, a closing iris. Kurosawa used wipes throughout Seven Samurai (1954), and Star Wars (1977) made them part of its identity.
Match cut. Two different shots joined by a shared shape, movement or composition. The bone tossed into the air that becomes an orbiting satellite in 2001: A Space Odyssey (1968) is the most famous match cut there is.
Whip transition. The camera pans so fast the image smears, and the cut is hidden inside the blur, joining two whip pans in the same direction. Citizen Kane (1941) links years of a marriage in its breakfast-table montage this way.
Hidden or seamless transition. The cut is buried inside a dark object crossing the lens or a shared movement, so two shots play as one, as in Rope (1948) and 1917 (2019). See seamless transitions.
Sound transitions. In a J-cut the next scene's sound arrives before its picture; in an L-cut the sound of the old scene lingers over the new picture.
Crash and set transitions. A crash transition hits the join with a burst of zoom, flash or noise; a set transition changes the scene physically in front of the camera. Both get their own sections below.

Why do editors choose one transition over another?

Because each transition makes a claim about how the two shots relate, and the audience reads that claim instantly.

Time. A cut says "now, continuous." A dissolve says "later" or "meanwhile" without a clock. A fade says "a real gap, a new chapter."

Space. Wipes and whips feel like the camera is traveling from one place to another, which is why they suit adventure films, comedy and montage. A match cut claims that two places or eras are connected by something deeper than geography.

Meaning. The strongest transitions carry an idea. 2001 jumps millions of years on a single graphic match and says that the bone and the satellite are the same tool. In The Godfather (1972), the baptism is cross-cut with a series of killings, and the constant back-and-forth turns the ceremony into an alibi. In Saving Private Ryan (1998), a slow push into an old veteran's face carries the film from a quiet cemetery to Omaha Beach, so the whole war plays as memory.

Energy. Hard cuts and crash transitions speed a sequence up; long dissolves slow it down.

Invisibility. Hidden transitions let a filmmaker stitch several takes into what plays as a single shot, as Birdman (2014) does across almost its entire length.

How to plan and shoot transitions

Most transitions that look clever on screen were designed at the storyboard stage. A few working rules:

Give the editor handles. Roll at least two seconds before action and after cut on every setup. A one-second dissolve at 24 fps needs 24 frames of overlap from both shots; a slow three-second dissolve needs 72.

Design both ends of an in-camera transition together. For a whip transition, whip in the same direction at a similar speed on both setups, with the same lens height and focal length, and let the blur last six to eight frames. For a hidden wipe, the object that covers the lens has to move in the same direction in both shots: a passerby crossing right to left at the end of shot A should still be clearing frame left at the start of shot B. Keep the object close, within a meter of the lens, so it goes fully dark and soft.

Match the frame, not just the object. A graphic match works when the shape sits in the same place and at the same size on both sides of the cut. Circles, horizons, doorways and faces centered in frame are the easiest matches.

Keep the shutter honest. A 180-degree shutter (1/48 s at 24 fps) gives the motion blur that makes whips and crash zooms read as speed. A fast shutter turns them into stuttering, crisp frames.

Light for the fade. If a scene is meant to fade to black, let the last image already sit in low key. A bright exterior dropping to black feels like a power cut.

What is a crash transition?

A crash transition slams two shots together through a burst of motion, light or graphics, so the change feels like an impact rather than a hand-off. The usual ingredients are a crash zoom that punches in on the last frames of shot A, a flash to white or a single bright frame at the join, and a hard sound hit: a whoosh, a drum, a camera shutter.

Edgar Wright's comedies, Hot Fuzz (2007) above all, turned the device into a signature: routine actions such as stamping a form or opening a door become a string of punched, noisy micro-shots. Tarantino's Django Unchained (2012) borrows fast zooms from 1970s genre cinema for a similar jolt.

To shoot one, run the zoom on the lens (or punch in digitally in post); the move should take three to six frames. In the edit, add one to three frames of white or overexposed picture at the join, and let the sound design carry half the effect. In a quiet drama it reads as a gag.

What is a set transition?

A set transition moves the story to a new place without cutting: the scenery itself changes in front of the camera. Walls fall away, a flat slides aside, lights go out in one part of the room and come up in another, a rotating set turns the next location into frame. It is theater stagecraft filmed in a single shot.

Michel Gondry built Eternal Sunshine of the Spotless Mind (2004) partly on this idea: as memories are erased, the spaces around the characters darken and disappear in-camera. Wes Anderson's The Life Aquatic with Steve Zissou (2004) tracks through a ship built as a cross-section, room to room, so the geography changes as the camera moves rather than at a cut.

Planning one is production design work first. Every moving piece needs a cue, a crew member and a rehearsal; the camera usually tracks or pans to cover the moment of change, and the lighting has to switch on the same beat. Shoot extra takes: there is no cutting around a late flat.

Transition vs. cut: is a cut a transition?

Yes. The cut is the simplest transition and by far the most common, but editors often talk about the two as opposites, because "transition" in an editing program usually means an effect laid over the join: a dissolve, a wipe, a slide. The difference that matters is visibility.

A straight cut hides inside the story. When it follows a look, a movement or a line of dialogue, the audience does not register it at all. Any other transition takes frames away from the story to say something about the edit: this is later, this is elsewhere, these two things are linked.

The practical rule: cut by default, and use another transition only when it adds a meaning the cut cannot. If you cannot say what the dissolve is telling the audience, it should probably be a cut. Sound tricks, a J-cut or L-cut, often do the smoothing job better than any visual effect.

Film Transitions in motion

11 clips

Watch the seam between two images: a whip smear, a dark shoulder crossing the lens, a flash of white, a shape that carries over, or a set that changes while the camera keeps rolling. Each loop hides or stylizes the moment one shot becomes the next.

Film Transitions in Art by Paul Trillo — *Art by Paul Trillo*: the camera pushes into an old television showing a man, and the screen becomes the next room with another set, era after era, so every push through a screen is a jump in time.

Film Transitions in Barbie — *Barbie*: a pink convertible cruises past a painted desert until a cactus slides across the frame; behind it the backdrop has become a pink boat on painted waves, then a rocket in space.

Film Transitions in Usual Suspects — *Usual Suspects*: a round brass plate on a pale wall dissolves into a satellite dish on a rooftop, the two circles held in the same place so the shape carries the eye across the change.

Film Transitions in Colorbond - Made by Australia — *Colorbond - Made by Australia* commercial: rolling lines of surf below a headland slowly turn into the grey ribs of corrugated steel, a graphic match that makes the product echo the coast.

Film Transitions in Old Spice - Questions — *Old Spice - Questions* commercial: a man in a towel poses on a beach while a panel slides across behind him, wiping the sand into a mountain lake where he now stands on a log in shorts.

Film Transitions in Riot & Set it off — *Riot & Set it off*: a man in a suit sits at a table as a dark shoulder moves across the lens and blacks out the frame, then pulls away on a new black-and-white shot, a hidden wipe.

Film Transitions in Empimic - Bittere Welt — *Empimic - Bittere Welt* music video: a black-and-white profile against street lights blooms into a burst of white flare, and out of the glare a man appears on a phone at night, the flash covering the join.

Film Transitions in ScHoolboy Q - Floating — *ScHoolboy Q - Floating* music video: a dusk skyline holds, then bursts into a radial zoom blur and lands on palm trees, dropping down a palm-lined street toward downtown, a crash transition between two views.

Film Transitions in Johnnie Walker - The Next Step — *Johnnie Walker - The Next Step* commercial: a man runs across dark grass toward a lone door frame, steps through, and the set lights up into a bright boardroom of seated executives, a set transition without a cut.

Film Transitions in Our England — *Our England*: a boy lying on a bed in a turquoise bedroom stays put while the painted wall tips back and falls away, revealing the bedroom set standing in a park, a set transition in one take.

Film Transitions in The French Dispatch — *The French Dispatch*: a dormitory of bunk beds and moving figures goes dark as the lights drop, and a lit window opens at the back of the stage on a new scene, the story moving on without a cut.

How to create a film transitions with AI

4 prompts

An image-to-video model animates one start frame, so it will not cut, dissolve or wipe for you; that happens in the edit. What AI can do well is generate the two halves of an in-camera transition so they meet cleanly. Below, Nano Banana 2 Lite draws the outgoing frame of a hidden wipe, GPT Image 2.5 the incoming one, and MiniMax H3 Max Turbo animates the first until a coat covers the lens. Keep both halves and every take on one FlashBoards board to line up the join side by side. The fourth prompt re-shoots a real film shot from a text description alone, and the original plays next to the result so you can compare.

Text → ImageNano Banana 2 Lite

Cinematic film still, medium wide shot at eye level, 35mm lens, rainy city street at night: a woman in her thirties with a shaved head, large silver hoop earrings and a mustard-yellow raincoat waits under a glass bus shelter at frame left, looking down the street; at the right edge of the frame, very close to the lens and heavily out of focus, the shoulder and back of a tall passerby in a black wool coat already stepping into frame; wet asphalt reflecting red and cyan neon, light rain, shallow depth of field, 35mm film grain

film transitions generated with Nano Banana 2 Lite — Generated in FlashBoards with Nano Banana 2 Lite · unedited

The start frame already contains the wipe: very close to the lens and heavily out of focus makes the passerby a dark soft mass rather than a character, and already stepping into frame at the right edge sets the direction of the move. The shaved head and silver hoops make the woman a clearly invented character.

Open FlashBoards

Text → ImageGPT Image 2.5

Cinematic anamorphic film still, wide shot at eye level, 40mm lens, quiet train station concourse at dawn: at the left edge of the frame, very close to the lens and heavily out of focus, the back of a passerby in a black wool coat leaving frame and covering a third of the image; beyond, a man in his sixties with a white braided beard, round tortoiseshell glasses and a mustard-yellow scarf sits alone on a wooden bench under a tall arched window; pale blue morning light, long shadows on a polished stone floor, 35mm film grain

film transitions generated with GPT Image 2.5 — Generated in FlashBoards with GPT Image 2.5 · unedited

This is the other side of the join: the same black coat, now leaving frame at the left edge, so the motion continues right to left across the cut. Changing place, time of day and aspect gives the transition a real jump, while the mustard-yellow scarf repeats the raincoat's color and ties the two shots together.

Open FlashBoards

Image → VideoMiniMax H3 Max Turbo

Camera: locked off on a tripod at eye level, perfectly still for the whole shot. Action: the tall passerby in the black wool coat is already walking briskly from right to left, so close to the lens that his coat brushes it, as the shot begins. Halfway through, his coat fills the entire frame edge to edge and the image goes fully black for a moment. Then he clears frame left and the rainy street is visible again, with the woman in the mustard-yellow raincoat stepping out from under the bus shelter and raising one hand, rain falling steadily through the neon light.

Input image: first frame from prompt 1 — First frame · the image from prompt 1

Image → Video · generated in FlashBoards with MiniMax H3 Max Turbo · unedited, with sound

Already walking briskly ... as the shot begins keeps the clip alive from the first frame, and so close to the lens that his coat brushes it with fills the entire frame edge to edge produces the dark wipe you cut on. Locked off ... perfectly still stops the model drifting into a push-in. In the edit, cut at the darkest frame and join it to a clip made from recipe 2.

Open FlashBoards

Text → VideoMiniMax H3 Max Turbo

{
 "output": "Full-screen live-action montage from (500) Days of Summer (2009), from its very first frame: seven shots. The first four are joined by three optical cross-dissolves made in the edit, where the old picture fades out while the new one fades in over the same frames, so both are on screen at once like a double exposure; they carry one downtown Los Angeles skyline from afternoon to night. The last three are joined by hard cuts. Late-2000s 35mm film with fine grain; golden-hour amber and dusty beige by day, violet-black sky and warm gold window lights by night, then a dim room with a matte black wall covered in white chalk lines.",
 "characters": {
  "S1": {
   "name": "Tom, played by Joseph Gordon-Levitt",
   "look": "slim young man in his late twenties, short dark messy hair, loose heather-grey crew-neck T-shirt; seen only from behind or over his shoulder, his face never turns to the camera",
   "voice": "he never speaks"
  }
 },
 "shots": [
  {
   "shot": 1,
   "camera": "static, low angle from a rooftop, wide lens, wide shot: a pale concrete parapet runs across the bottom fifth of the frame; beyond it tall downtown glass towers fill the frame to the top edge, the sun blazing behind the top of the central tower",
   "action": [
    "BEGINNING: alive from the first frame, sped-up time-lapse: S1 stands small in the lower left third at the parapet, back to camera, both forearms resting on it, head tilted up toward the towers; a small open box sits on the parapet just left of him; the sun throws a bright starburst flare down from the top centre.",
    "THEN: S1 shifts his weight and leans a little toward the right, elbows on the parapet; a faint round lens ghost hangs to the right of him.",
    "END: the starburst still blazes behind the central tower."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 2,
   "cut_at": "00:01.220",
   "camera": "the same static low-angle wide frame of the parapet and towers, a touch tighter; the camera never moves",
   "action": [
    "BEGINNING: a short cross-dissolve, never a hard cut: for a few frames the starburst picture and a later picture of the same afternoon are both on screen, each half-transparent, then the starburst fades away: the sun is gone behind the tower, the sky pale white-blue, S1 a little further right at the centre-left of the parapet.",
    "THEN: sped-up time-lapse: S1 jumps between slightly different poses, leaning on both forearms and turning his head from left to right along the skyline, while the light warms from white to amber and dims.",
    "END: late afternoon, S1 larger and lower in the bottom left, back to camera, both hands on the parapet, head raised to the towers."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 3,
   "cut_at": "00:02.720",
   "camera": "static, the camera never moves during the dissolve: the incoming dusk picture is the same towers from the same low angle, framed a little higher so the parapet is not in it",
   "action": [
    "BEGINNING: the cross-dissolve starts, never a cut and never a camera move: the dusk skyline begins to show through the bright afternoon picture of S1 at the parapet.",
    "THEN: for about half a second both pictures are clearly visible at the same time, each half-transparent: S1 and the parapet are a see-through ghost, the dark dusk towers and the amber sky showing through his grey T-shirt and through the concrete.",
    "THEN: the afternoon picture fades out completely; S1 and the parapet are gone.",
    "END: only the skyline remains, nobody in frame, the towers dark against a flat amber-brown dusk sky."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 4,
   "cut_at": "00:03.240",
   "camera": "static, the same low-angle wide shot of the towers, nobody in frame; the camera never moves",
   "action": [
    "BEGINNING: a second cross-dissolve, never a cut: the night picture starts to fade in over the dusk picture.",
    "THEN: for a moment both pictures are on screen at once, each half-transparent: rows of lit gold windows and blue crown lights float over the dark amber dusk towers.",
    "THEN: the dusk picture is gone: night, violet-black sky, the towers covered in small warm gold lit windows, thin cyan and blue light strips crowning the two tallest towers.",
    "END: the night skyline holds perfectly still."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 5,
   "cut_at": "00:04.720",
   "camera": "a hard cut to a different place, indoors: static medium close shot at eye level from just behind S1's shoulder; a matte black wall fills the frame, covered in thin white chalk outlines of buildings and rows of window bars",
   "action": [
    "BEGINNING: right after the hard cut, S1 fills the right half of the frame, seen from behind, head bowed toward the wall; one arm reaches forward to the left centre, the fingertips pinching a short stick of white chalk against the black wall.",
    "THEN: sped-up time-lapse drawing: the hand shades small quick strokes and new chalk lines of windows and a building edge appear around it faster than real time.",
    "END: the hand still shades the same block at the left centre, head bowed, the chalk skyline denser than at the start."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 6,
   "cut_at": "00:05.760",
   "camera": "a hard cut to a different place, outdoors at night: locked-off wide shot at eye level down a downtown street, sped-up time-lapse",
   "action": [
    "BEGINNING: right after the hard cut, a night intersection: the tall vertical neon blade of an old theatre in the left third, seen almost edge-on, a narrow column of glowing blue tubes; old street lamps with round white globes along both sidewalks; a traffic light hanging over the centre of the street glowing amber.",
    "THEN: the traffic light jumps to red, then green, then amber; cars smear into long streaks of white headlight and red tail-light crossing the frame.",
    "THEN: a bus sweeps past close to the camera as a blur of red and orange streaks filling the left half of the frame.",
    "END: the street calms, one car's red tail-lights receding down the centre of the road, a lit bus stopped far away on the right."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  },
  {
   "shot": 7,
   "cut_at": "00:07.040",
   "camera": "a hard cut back indoors to the black chalk wall: static close shot from behind S1, slightly high",
   "action": [
    "BEGINNING: right after the hard cut, S1's dark head at the centre, seen from behind and bowed, grey T-shirt shoulders at the bottom right; he presses a long plank of raw wood horizontally against the black wall across the upper left, a short row of screw holes near its left end; the upper hand lies flat on top of the plank near its left end, the lower hand spreads its fingers against the plank's front edge.",
    "THEN: he holds it steady and leans in, checking that it is level, head tipping slightly to the right.",
    "END: both hands still pin the plank in place, head bowed, faint chalk lines on the black wall around it."
   ],
   "voice": "silence: nobody speaks in this shot, no voice at all",
   "dialogue": []
  }
 ],
 "sound": {
  "ambience": "no location sound in the rooftop and street shots beyond a faint distant city hum heard from far below; soft chalk scratches and a light wooden knock in the room",
  "speech": "no words in this video; the only human sounds are breaths and movement",
  "never_spoken": "no narration and no voice-over: the descriptions, performance notes and step words of this prompt are never spoken aloud",
  "music": "a film score under the scene, always below the voices: a gentle, hopeful score of soft piano and warm strings over a light, steady pulse that keeps building",
  "subtitles": "none"
 }
}

Text → Video · recreation generated in FlashBoards with MiniMax H3 Max Turbo from the prompt above · unedited, with sound

Original

The shot it recreates · (500) Days of Summer (2009)

Remakes the rooftop montage from (500) Days of Summer (2009), dir. Marc Webb, DP Eric Steelberg: the afternoon skyline dissolving into dusk and night while Tom fades out like a ghost, then the hard cuts to his chalk wall, the night street and the plank, all at the original's times.

Each dissolve sits in the shot it opens, with cut_at at the moment it starts, and the overlap gets its own step: both pictures clearly visible at the same time, each half-transparent, Tom a see-through ghost with the dusk towers showing through his T-shirt. The first take read the dissolve as a camera tilting up; never a cut and never a camera move fixed that. The three hard cuts that follow land within about a tenth of a second of the original's.

Open FlashBoards

Common mistakes

Morphs instead of transitions. One clip asked to "transition to a station" melts two places together. Generate each side separately and join them in the edit.
The word "transition" itself. It can trigger swirling light, glitch or double-exposure effects. Describe the physical event instead: his coat fills the entire frame.
The wiping object stays sharp and small. Say very close to the lens, heavily out of focus and fills the entire frame, or the passerby walks politely behind the subject.
Direction mismatch. If the coat crosses right to left in shot A, write leaving frame at the left edge in shot B; otherwise the eye feels a jolt at the join.
Fades generated in camera. "Fade to black" in a video prompt often darkens the lighting in the scene. Add fades and dissolves in the edit, where you control their length.

FlashBoardsDirect the film transitions on one board

Keep the reference frames, prompts and every generated take side by side — images and video in one canvas.

Open FlashBoards

FAQ

5 questions

What are the types of transitions in film?

The main types are the cut, dissolve, fade (in or out, usually to black), wipe (including the iris), match cut, whip transition and hidden or seamless transitions, plus sound-led joins such as the J-cut and L-cut. Stylized variants include the smash cut, the crash transition with a burst of zoom or flash, and the set transition, where the scenery changes in front of the camera.

What is the most common transition in film?

The straight cut, by a huge margin. A typical feature contains well over a thousand cuts and only a handful of dissolves or fades. Cuts that follow a movement, a look or a line of dialogue go unnoticed, which is why editors reserve every other transition for moments when they want the audience to feel a change in time, place or meaning.

What is the difference between a dissolve and a fade?

A dissolve overlaps two shots: the first fades out while the second fades in over the same frames, so both are briefly visible. A fade involves one shot and a solid color, usually black: the picture goes down to black or comes up from it. Dissolves link scenes and suggest time passing; fades mark bigger breaks, like the opening, the ending or a new chapter.

How do you make a seamless transition between two shots?

Plan both shots together. Hide the join in something that fills the frame, such as a dark coat, a wall or a whip-pan blur, and keep direction, speed, lens and camera height consistent on both sides. Leave handles before and after the move, then cut on the frame where the image is darkest or most blurred so the eye cannot find the seam.

Are video transitions like slides and spins bad editing?

Not always, but they are easy to overuse. Preset effects draw attention to the software rather than the story, so they tend to look cheap in drama. They work when the tone invites them: comedy, music videos, sports packages, playful montages. Ask what the transition says that a cut cannot; if the answer is nothing, cut instead.

Film Transitions

What are film transitions?

What are the main types of transitions in film?

Why do editors choose one transition over another?

How to plan and shoot transitions

What is a crash transition?

What is a set transition?

Transition vs. cut: is a cut a transition?

Film Transitions in motion

How to create a film transitions with AI

Common mistakes

FAQ

Related terms

Further reading