What Is a Cut? Basic Techniques for a Better Cut in Video Editing

Every film, video, or short clip you’ve ever watched is built on one of the simplest editing decisions: the cut. It’s such a basic part of filmmaking that most viewers don’t even notice it. But for editors, the cut in video editing is the foundation of storytelling.

Walter Murch, in his classic book In the Blink of an Eye, compares the cut to the natural rhythm of human blinking. Just as we blink without thinking, cuts guide audiences through a story in ways that feel natural, or -when used differently- deliberately unsettling.

In this post, we’ll break down what a cut really is, why it matters, the most common types of cuts, and some beginner-friendly techniques to make your edits stronger.

If you’re a video editor, you should also see my post on Walter Murch’s rules for film editing.

TL;DR

• A cut is the transition from one shot to another, and it’s the foundation of editing.
• Walter Murch compares a cut to the blink of an eye, a natural way the audience shifts focus.
• Cuts shape pacing, emotion, and meaning in film and video.
• Common types include straight cuts, match cuts, jump cuts, J-cuts, L-cuts, and montage cuts.
• Better cuts come from cutting with purpose: on action, on emotion, or in rhythm with the story.

What Is a Cut in Video Editing?

At its simplest, a cut is the instant when one shot ends and the next shot begins. It’s the most basic transition in film editing, no fades, no wipes, no effects. Just a direct move from one image to the next.

Walter Murch defines a cut as the film equivalent of a blink. Just as we blink when we shift focus or thought, a cut allows the audience to refocus on something new without feeling jarred. This idea reframes cutting as something natural and almost invisible when done well.

A cut is more than a technical splice. It’s a decision: where should the audience look next, and why? That choice shapes how viewers understand the story.

Why Cuts Matter in Film

If the cut is so simple, why does it matter so much? Because cuts control:

• Pacing: Fast cuts create energy, while long takes build tension or calm.
• Emotion: A cut to a character’s reaction can amplify how an audience feels.
• Meaning: Juxtaposing two shots can suggest ideas or connections that neither shot could communicate alone.

Good cuts feel seamless, the audience stays immersed in the story. Bad cuts are distracting, pulling attention away from the content and toward the editing itself.

This is why Murch’s approach emphasizes cutting with purpose. Every cut should serve the story, whether it’s invisible or deliberately noticeable.

Basic Types of Cuts in Film Editing

There are many kinds of cuts, but most editing decisions build on a few foundational ones. Think of these as the editor’s basic toolkit.

1. Straight Cut (The Standard Cut)

This is the most common type of cut: one shot ends, the next begins, and nothing else is added. It’s simple, clean, and invisible when done well. Almost every film relies on straight cuts to move the story forward without drawing attention to the edit.

2. Match Cut

A match cut connects two shots with a strong visual or thematic link. For example, cutting from a close-up of a character’s eyes to a sunrise in the same shape. Done right, match cuts are clever and memorable, often symbolizing continuity or contrast.

3. Jump Cut

Jump cuts break the illusion of time and space. Instead of flowing smoothly, the edit skips forward, often within the same scene. Popular in vlogs and experimental films, jump cuts create energy but can also feel jarring if overused.

4. J-Cut and L-Cut

These two cuts shape the relationship between sound and image.

• J-Cut: The sound from the next scene begins before the picture changes.
• L-Cut: The image changes first, while the sound from the previous scene lingers.

Both are essential for smooth audio transitions and are especially common in dialogue-driven scenes.

5. Montage Cut

A montage is a series of quick cuts, often over music, that compresses time or shows progression. Think of training sequences, travel highlights, or fast-paced creative reels. Montages build rhythm and emotion while skipping over unimportant details.

6. Invisible Cut

While not truly “invisible”, this type of cut is designed to feel seamless. Editors use camera movement, matching action, or digital effects to disguise the transition. Famous examples include Birdman and 1917, which appear to be shot in a single continuous take.

Learn more, with this basics of video editing guide.

Techniques for Better Cuts

Learning the different types of cuts is one thing. But knowing when and why to use them is what turns an editor into a storyteller. Walter Murch reminds us that every cut should be motivated by the story, not just by rhythm or convenience. Below are some practical techniques, supported by theory, to help you make stronger edits.

1. Cut on Action

Practical use: When a character moves -sitting down, turning their head, opening a door- cut during the movement. The action masks the transition, making it feel natural.

Theory: Humans are wired to follow motion. By cutting mid-action, you let the audience’s eyes track continuity across shots, so the edit disappears.

2. Cut on Emotion

Practical use: Sometimes the right cut is not where the movement happens but where the emotional intensity shifts. Cutting to a reaction shot, for example, can land harder than staying with the main action.

Theory: According to Murch, of all the reasons to cut, emotion is the most important. If a cut preserves or enhances the audience’s emotional response, it will usually work, even if it breaks continuity.

3. Maintain Rhythm

Practical use: Every scene has its own tempo. Comedy often needs fast cuts to keep energy alive, while drama might benefit from slower pacing. Listen to the rhythm of dialogue, music, or silence to decide when to cut.

Theory: Editing rhythm mirrors natural human perception. Just as our breathing and blinking sync with our thoughts, cuts that follow the “pulse” of a scene feel right on an instinctive level.

4. Match Eye Traces and Screen Direction

Practical use: Pay attention to where the audience’s eyes are likely to be on screen. In some cuts, you should try to keep the eyes still, on the same part of screen. And in other, you should aim for a natural movement.

For example, if you cut from a character looking left to another character looking right when  they’re talking to each other, the eye movement feels smooth. But breaking screen direction can confuse viewers unless it’s intentional.

Theory: Visual continuity is not just about space, but about psychology. Murch describes cuts as guiding attention, not just joining images. Respecting the audience’s eye trace allows them to stay immersed in the story.

5. Avoid Distracting Cuts

Practical use: If a cut makes the viewer think about the editing instead of the story, it’s usually a bad cut. Exceptions exist (jump cuts, stylistic edits), but use them with intention.

Theory: Editing is often strongest when it’s invisible. As Murch notes, the audience should feel the cut rather than notice it. Distracting cuts break the illusion of reality unless they serve a clear purpose.

You should also learn about basics of storytelling for content creators, if you want to become a better editor.

Last Words

Cuts are the invisible glue of film and video. They shape how audiences experience time, space, and emotion. By understanding not just the mechanics but the deeper theory behind cutting, you can make choices that feel purposeful rather than random. Walter Murch reminds us that the perfect cut is the one that best serves the story and its emotion, even if it bends the rules. So as you edit, ask yourself: does this cut honor the emotion, the rhythm, and the flow of the scene? If yes, you’re on the right path.

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