A jump cut is a transition between two shots which appears to "jump" due to the way the shots are framed in relation to each other. Jump cuts are usually caused by framing which is quite similar, such as these two:

1. • Jump cuts
• Eyeline Matching
• Match cuts
• Fade in and fade out
PREPARED BY ANJU A
DEPT. OF.ENGLISH
PAYYANUR COLLEGE

2.  A jump cut is a transition between two shots which appears to "jump" due to the
way the shots are framed in relation to each other.
 Jump cuts are usually caused by framing which is quite similar, such as these two:
When the first shot above cuts instantly to the next, the effect is not pleasing. The framing is not
different enough to be a new shot — the transition instead appears to be a mistake in editing.

3. Like all rules of framing, the jump cut rule can be
broken.
Jump cuts can add impact and tension in the right
place.
As always, learn how to use the rule before you learn
how to break it.

4.  Zoom instead of cutting.
 Make the framing of the two shots completely different.
 The following sequence of shots is preferable to the example above:
As you can see, this sequence uses three of the standard shot types (wide shot, mid-shot and MCU).
This is a helpful way to avoid jump cuts — you can safely cut between most standard shot types.

5. The jump cut effect is even more disconcerting when it
happens between two different subjects. For example, if a
shot of one person is followed by a shot of a different
person in the same position, it looks like the first person
has transformed into the second one.When cutting
between different people, pay attention to looking room
and other positioning elements. For example:
If both people are facing the camera, you have a jump shot.
If one person is facing left and the other is facing right
(with appropriate looking room), it looks like two people
talking to each other.

6.  Eyeline matching is a film editing technique associated with continuity editing to
help establish a logical coherence between shots and make the storytelling
smooth, logical and continuous.
 Eyeline matching is one of the basic building blocks of movie making for a
narrative film or story.
 Eyeline, as you might guess, refers to the trajectory of the looking eye.
 Eyeline matching isn’t just about seeing what the character is looking at, it’s about
the angle at which they’re looking at it.
 It applies often to other characters, but also applies to anything that can be looked
at.

7. This technique is based on the premise that the viewers
will want to see what the character they are watching on the
screen is viewing. This means there will be a cut to show
what is being looked at by the character on screen. It can
be:
An object
A view
Another character

8. The eyeline match will begin with a character looking at
something off-screen.
It is then followed by a cut to the object or person at which
he is looking.
For instance, a man is looking off-screen to his left, and then
the film cuts to a television that he is watching, a character
he is looking at, etc.

9.  If you’re watching a movie, and a character is looking off screen at
something, your natural expectation is to next see what that character
is looking at.
 That’s almost always the case, but you can’t just get any old shot of
whatever that character is looking at.
 You are trying to sell the reality of the film.
 This means that when you cut to the shot of whatever you’re character
is looking at, the audience needs to believe that they’re looking at it
through the eyes of your character.

10.  For example, Character A, is clearly the star of the show.
 Let’s say he’s deciding which pair of shoes to wear.
 In the shot, you can see that not only is Character A looking off
camera, he is looking DOWN and off camera.
 Your audience will expect to see a high angle shot looking down on
whatever he is looking at, in this case his shoes, as if from Character
A’s point of view.
 In shot A you see the angle at which Character A, is looking.
 This is his “eyeline.” In shot B you see what he is looking at from that
same angle.

11. Alfred Hitchcock’s “Rear Window,” is one example of a film
that makes frequent use of eyeline matches.
The main character is confined to his apartment.
He looks out its rear window often at events in the buildings
across from him.
Hitchcock frequently cuts from the character looking off-
screen to the focus of his gaze.

13. The term “eyeline match” can also refer to the practice of
setting off-camera eyelines for single shots of characters
within a scene.
 They are shot so that when these shots are cut together,
each of the characters appear to be looking at the correct
character, without any confusion.
 Factors influencing the position of the off-camera eyeline
are usually placed off camera, but sometimes are by giving
the on-camera actor a mark to look at.

14. These factors include the 180 degree rule, camera
lens/height/distance to subject and geography of the set.
 For example, you take matching close-ups of two actors in
a scene.
 They are shot on the same lens with the camera placed at
matching heights.
The eyeline match creates order and meaning in cinematic
space. It gives the viewer what they want and are
expecting to see and it can really bring a story to life for
the viewer.

15. Match cuts are any cuts that emphasizes spatio-temporal
continuity and it is the basis for continuity editing.
When we refer to continuity editing, we are referring to
editing techniques that are used to help establish a logical
flow between disparate shots so as to present a smoother
narrative transition that does not end up jarring or
confusing the viewer.

16. A match cut is one method that directors use in editing to
suggest a relationship between two different objects and to
create a visual metaphor.
 It is a cut within a scene that makes sense spatially.
This can be between two different objects, two different
spaces, or two different compositions in which an object in
two shots graphically match.

18. The dissolve is an editing technique where one clip seems
to fade—or dissolve—into the next.
As the first clip is fading out, getting lighter and lighter, the
second clip starts fading in, becoming more and more
prominent.
The process usually happens so subtly and so quickly, the
viewer isn't even aware of the transition.
The above video offers a great overview of the cut, with
examples.

19. This transition is the opposite of the dissolve in that it draws
attention to itself.
The best example of the wipe is what's known as the Iris
Wipe, which you usually find in silent films, like Buster
Keaton's or the Merrie Melodies cartoons—the circle
getting smaller and smaller.
Other wipe shapes include stars, diamonds, and the old
turning clock.

20.  The fade in and fade out usually signal the beginning or end of
a scene, especially if the filmmaker is fading to/from black.
 This is the most common, of course, but fading to white has
become trendy, too.
 The opening title sequence from the HBO series Six Feet
Under featured many fades to black and a couple brief fades to
white.
 The very last bit in the sequence fades slowly to white, and is
my all-time favorite example of the transition:

21. Fade in:When darkness slowly turns into a image then
that's called Fade in.This is normally used when film
begins. See the below image:

22. When an image slowly turns into darkness then
that's called Fade out.This is normally used when
film ends. See below image.

23.  https://tubularinsights.com/match-cut/
 https://www.quora.com/What-is-the-difference-between-fade-in-and-fade-out-in-
movie-cuts
 https://www.mediacollege.com/video/editing/transition/jump-cut.html