Contrast cut

A film transition is a technique used in the post-production process of film editing and video editing by which scenes or shots are combined. Most commonly this is through a normal cut to the next shot. Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story. These other transitions may include dissolves, L cuts, fades (usually to black), match cuts, and wipes.

Every film today, whether it be live-action, computer generated, or traditional hand-drawn animation is made up of hundreds of individual shots that are all placed together during editing to form the single film that is viewed by the audience. The shot transition is the way in which two of these individual shots are joined together.

Principally a literary term denoting a rhythmical pause and break in a line of verse. In poetry, the caesura is used to diversify rhythmical progress and thereby enrich accentual verse.

The term first gained significance in motion-picture art through the editing experiments of Sergei Eisenstein. In applying his concept of montage as the "collision of shots", Eisenstein often included caesuras - rhythmical breaks - in his films. The acts of The Battleship Potemkin (1925) are separated by caesuras that provide a rhythmical contrast to the preceding action. The intense, frenetic action of the mutiny, for example, is followed by the lyrical journey of a dinghy to the shore. The three Burt Bacharach musical sequences in Butch Cassidy and the Sundance Kid (1969) provide contrasting caesuras that separate the major actions of the film. Several intense action sequences in Master and Commander (2003), including a raging sea storm and fight scenes, are followed by caesuras -quiet, scenic interludes that are often accompanied by melodic cello music.

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