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In thepost-production process offilm editing andvideo editing, acut is an abrupt, but usually trivialfilm transition from one sequence to another.^[1] It is synonymous with the termedit, though "edit" can imply any number of transitions or effects. The cut,dissolve, andwipe serve as the three primary transitions. The term refers to the physical action of cutting film or videotape, but also refers to a similar edit performed in software; it has also become associated with the resulting visual "break".

Due to the short length of earlyfilm stock,splicing was necessary to join together segments into long-form.Actualitydirectors spliced together reels prior toshooting to record for longer periods of time.Narrative directors, on the other hand, preferred shooting for shorter lengths, editing together shot footage. In either case, film was cut (and subsequently joining the cut segments) to remove excess footage, focusing attention on significant elements.

The cut has retained its purpose to this day, with alternative uses arising to achieve special effects.

To signal the end of media capture, this command is issued primarily by the director, to cast and crew. (It is very unusual for others to yell "cut" without an exceptional reason; mistakes are re-shot during the same take, if possible.) In contrast, a "roll" command signals the beginning of shooting.

In between these commands and the actual footage to be captured, various marking elements (theslate), preparatory actions (extras, effects, or other costly elements), and the director's "Action!" command are also recorded. These are edited out to effect a seamless presentation.

In practice, the cut does not break thesuspension of disbelief necessary to keep an audience engaged to a narrative or program. The cut represents a continuous transition insetting andtime—in turn, the dissolve and wipe respectively identify changes in time and setting. In many cases, cuts are also used in place of dissolves or wipes for minor changes, or to edit away insignificant details to maintainpace. Usage of the cut in this manner conforms to the goals ofcontinuity editing, which deemphasizes the presence of the film crew.

Cuts serve as transitions between camera angles, such a wideestablishing shot and amedium shot. Footage of a moving character may be captured from multiple angles rather than atracking shot, either for aesthetic reasons or to lessen the risk of damaging a camera while in motion.

Cuts are often used in sections ofdialogue so that the director may employclose-ups without unnecessary (and visually disturbing) movement of the camera. Such cuts usually follow the180-degree rule, where the camera angles are kept on the same side of an imaginary border drawn between the subjects.

On a broadcast televisionmultiple-camera setup, cuts are performed at thevision mixer by thetechnical director by simply selecting a different source. On single camera or film setups, cuts are performed by theeditor using either alinear ornon-linear editing system. Film may still be cut and spliced, but today's editing systems have made such "destructive" edits unnecessary. Instead, edit points identify where the system duplicates source footage onto themaster reel.

• AnL-cut is when video and audio are edited asynchronously. For example, the sound of approaching cars in an interior shot alerts the viewer that the next scene will most likely involve traffic or take place outside.
• Ajump cut is a cut, within the setting and time frame of a scene, where continuity is visibly broken. Though a mistake in many cases, it can also be used for dramatic effect. It is not to be confused with a cut used where adissolve orwipe would be (perhaps more) appropriate.
• Acutaway is when footage extraneous to a scene is overlaid, visually interrupting the narrative but perhaps displaying some important action taking place simultaneously, or an action referenced in dialogue. Audio cutaways are much less common, as they do not achieve the same effect.
• Across cut is similar to a cut used in dialogue, but where the subjects are not necessarily in the same setting (or even time frame). It establishes the same intimate relation as a dialogue cut.
• Amatch cut, like the cross cut, links together two scenes that visually or otherwise resemble each other.
• Cutting on action refers to a cut that links together two compositionally similar scenes. For example, the imminent pulling of a gun trigger may, prior to the gunshot, cut to achampagne cork firing off.

• Long take
• Fast cutting
• Slow cutting

• Cinematic techniques
• Film editing

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