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How to use them to engage and influence any audience? Learn about editing techniques of L-cuts and J-cuts, how they're used, and how to create them in your own projects. When movies added sound, not only did the experience of watching movies change, editors developed new techniques to work with sound and help tell stories in dynamic and engaging new ways.

Some of the earliest techniques developed were L-cuts and J-cuts. With L-cuts and J-cuts, editors add interest and even tension to dialogue scenes , taking advantage of the ability of sound to feed the audience dialog instead of needing a text card to deliver it. Editors were free to focus the visual attention wherever they wanted while the audience hears the dialog.

Useful Tips: Essential Video Transitions. These cuts get their names from the way the footage appears on the editing timeline — audio starting before the video resembles a J, and audio extending out past the video resembles an L.

L-cuts and J-cuts break up the conversation and let you engage the audience by showing them characters reacting to dialog instead of just saying it. To create an L-cut, trim the right edge of the video event without touching the audio event. Holding Shift overrides the event group and enables you to trim only the video event. Now, because the video cuts away before the audio, you have an L-cut. Often used to open or close out a scene, fading out of one scene to black or sometimes white and then fading back up into the next gives a sense of closure for the first scene and moving on to something new gracefully.

You can often use fades to add a sense of conscious perception for the audience, such as fading out as a character goes to sleep or fading in when he or she wakes. Fading to black and staying on it for a few seconds before fading into the next scene can add a sense of time passage. Fading one shot out while simultaneously fading the next shot in, instead of to white or black before fading into the next shot. With this type of transition, you'll see both clips on screen at the same time during the transition period.

VEGAS Pro makes creating cross-dissolves easy — just position the beginning of one timeline clip event so that it overlaps the end of another event. The overlap between the clips automatically becomes a crossfade. The amount of overlap between the two events dictates how long the transition lasts.

If you want, you can then drag and drop any other kind of transition, some of which we'll discuss next, into the overlap area and the crossfade becomes that transition instantly. No other software makes creating a transition faster or more logical.

These transitions find their way into professional works, but not nearly as much as the ones above. Use them to add visual interest or artistic emphasis, but be careful not to overuse them. Just like it sounds, these transitions appear to wipe one shot away with the next one. Often done as straight or angled wipes, other variations include shapes, like iris wipes circles , star wipes, or heart wipes. Other variations include clock wipes, which appear to sweep around the face of a clock, or matrix wipes, which look like an array of growing shapes like stars or diamonds.

And, if not used tactfully, or if not properly used for an intentional cheesy or comedic effect, they can make your production look amateurish. One very effective use of wipes, though, can be to connect two different shots in a quick pan to make them look like one continuous shot. Somewhat similar to very quick cross-fades, these use a bright sometimes colored flash to move between shots.

Use flash wipes to emphasize quick points, but too much flashing will exhaust viewers very quickly. Much like it sounds, one shot slides out to reveal the next.

Most of these transitions should be used sparingly, if at all. If you do use them, make sure you have a pretty darn good visual reason for it. They may have a place in quick-moving, high-intensity videos, certain types of commercials, or perhaps brief informational videos. You may even find an artistic reason to use them in longer-form or narrative work. No frills, one-clip-at-a-time and no fine tuning but it works like a charm for many clips.

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