Eyeline match is a popular editing technique associated with the continuity editing system. It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen; there will then be a cut to the object or person at which he is looking. For example, a man is looking off-screen to his left, and then the film cuts to a television that he is watching. Alfred Hitchcock used this procedé throughout Rear Window because of the fact that the center location was used as a look-out by James Stewart. The whole film is based on the main character looking at something, followed by an eyeline match of what he's looking at.

Jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing. Jump cuts, in contrast, draw attention to the constructed nature of the film. Although the term is sometimes used in a loose way, a cut between two different subjects is not a true jump cut, no matter how jarring.

Shot reverse shot (or shot/counter shot) is a film technique wherein one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. Shot reverse shot is a feature of the "classical" Hollywood style of continuity editing, which deemphasizes transitions between shots such that the audience perceives one continuous action that develops linearly, chronologically, and logically.

Cross-cutting is an editing technique used in films to establish continuity. In a cross-cut, the camera will cut away from one action to another action. Because the shots occur one after another, cross-cutting is used to suggest simultaneity of action. However, it can also be used to link significant actions that do not occur simultaneously. Suspense is built by using cross-cutting. It is built through the expectations that it creates and in the hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative action that happens in several places at approximately the same time.

Insert is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing. An insert is different from a cutaway in that the cutaway is of action not covered in the master shot.There are more exact terms to use when the new, inserted shot is another view of actors: close-up, head shot, knee shot, two shot. So the term "insert" is often confined to views of objects--and body parts, other than the head. Thus: CLOSE-UP of the gunfighter, INSERT of his hand quivering above the holster, TWO SHOT of his friends watching anxiously, INSERT of the clock ticking.

Dissolve shows the incoming video clip as small particles that gradually fill the screen over the outgoing video clip.
Fade In to the beginning of a clip so that the image gradually appears from a black screen.
Fade Out to the end of a clip so that the screen gradually fades to black.
Wipe, Normal Down shows the incoming video sliding down over the outgoing video with a faded area where the two meet.