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Transitions

Video transitions that support the cut, not distract from it

Most transitions should be invisible. A cut carries the story; a dissolve buys time or joins two scenes; a wipe makes a deliberate graphic statement. The browser timeline keeps those choices editable, so the transition can change when the edit changes.

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  • Cuts, dissolves, dips, wipes and graphic moves in one timeline
  • Handles and duration stay editable after the first pass
  • Check the transition in every delivered aspect ratio
Two large film frames overlapping in a dark room with ribbons of amber and teal light
Vocabulary

Know what each transition is doing

A cut changes the image in one frame. A cross dissolve overlaps two images and softens the change. A dip to colour passes through black or another colour, which reads as a break in time. A wipe moves a boundary across the frame. The effect name matters less than the job it performs.

  • Cut for pace, reaction and a change of angle
  • Cross dissolve for a gentle passage of time or location
  • Dip to colour for a chapter break or a deliberate pause
  • Wipe or shape transition when the graphic move is part of the idea
Handles

Build the edit with room for the transition

A dissolve needs media beyond the cut point on both sides. If the clips end exactly on the edit, there is nothing to overlap. Trim with handles, then place the transition and watch the result at normal speed. A transition that starts before the action has finished can hide the very moment the scene needs.

  • Leave extra frames on both clips before adding a dissolve
  • Keep the transition shorter than the shortest handle
  • Watch the cut in context, not in a loop around the effect
  • Adjust the edit point before making the transition longer
Sound

The audio edit has to agree with the picture

A picture dissolve can work while the sound cuts hard, or the audio can crossfade with the image. Neither is automatically right. Listen for a room tone change, a music downbeat or a line of dialogue that should not be covered. The transition is part of the rhythm, and rhythm is heard as much as seen.

  • Crossfade ambience when the picture dissolves between locations
  • Keep dialogue edits on their own timing instead of following the video effect
  • Use a music edit point to motivate a longer transition
  • Check the transition on speakers and headphones
Custom moves

Use Fusion when the transition has to be designed

A library transition is useful when it fits. When the move has to follow a logo, a camera direction or a specific shape, build it in Fusion instead of stacking effects until something looks close. A custom transition can be reused, but it still needs to be checked against every shot and aspect ratio.

  • Build shape, light and edge moves in Fusion for control
  • Keep the custom transition on its own layer for revisions
  • Test a vertical crop before committing to a wide graphic move
  • Retire an effect when a straight cut tells the story better
At a glance

Transitions at a glance

A short guide to the moves that earn their place in a cut.

CutImmediate change; the default for most edits
Cross dissolveOverlap two images to soften time or place
Dip to colourPass through black or a chosen colour for a break
WipeA moving boundary with a graphic or spatial idea
HandlesExtra media on both clips for the overlap
CustomFusion for a designed move that follows the brand
Help

Frequently asked questions

Transitions questions that come up before a first render.

Which transitions are available in the browser studio?

The timeline supports the everyday edit transitions: cuts, cross dissolves, dips and wipes, plus custom moves built in Fusion. Check the current effect browser rather than assuming a third party preset pack is installed.

Why will a dissolve not apply to my clip?

The most common reason is a missing handle: there are not enough frames beyond the cut for the two clips to overlap. Trim with extra media on both sides, then place the transition again.

How long should a transition be?

Long enough to do its job and short enough to keep the scene moving. A dissolve between two shots often sits around half a second to a second, but the right duration depends on the action and the music.

Should the audio crossfade too?

Only when the sound should change with the picture. A hard audio cut under a picture dissolve can be more effective than fading everything. Listen for dialogue, room tone and music cues before choosing.

Can I use the same transition on vertical video?

Test it on the vertical frame. A wipe or graphic move designed for a 16:9 frame can lose its meaning when the sides are cropped. Rebuild or reposition the move for the delivery aspect ratio.

Does Fusion make a transition render slower?

A complex Fusion move can cost more than a native dissolve, especially on a long timeline. Preview the heaviest section first and use render cache or proxies if the sequence starts to stall.

Keep reading

Where this fits in the workflow

The studio is one project with several pages. These are the pages that usually come before and after this one.

Edit pageOnline editor for multi track video editing in the browser

The Edit page is a full multi track timeline that opens in Chrome. Ingest a card, assemble on the Cut page, trim on the Edit page, and every clip, marker and speed ramp is still where you left it the next time you open the project on any machine.

Read the page Fusion pageFusion online: node based compositing and motion graphics in the browser

The Fusion page is a compositing application inside the timeline. Build a node graph for the shot, keep the result live in the project and hand it back to the edit without a round trip, an export or a second version of the media.

Read the page Titles and textAdd text and titles in the browser timeline

Text is not a sticker placed after the edit. A title belongs on its own layer, in a size that survives a phone screen and with an animation that supports the cut. The browser studio keeps the text editable from the first draft to the final delivery file.

Read the page Vertical videoVertical video in a landscape timeline: shorts and reels without a second project

Most vertical clips start life as part of something longer. The trick is to cut them from the same project instead of spinning up a parallel edit: duplicate the timeline, reframe, and keep one story in one place.

Read the page Browser video editorThe browser video editor built for real post-production

Most browser editors stop at trimming a clip and adding a caption. This one is a full post pipeline: a multi-track timeline, node based colour, Fusion compositing, Fairlight audio and delivery presets, all in a Chrome tab and all on the same project.

Read the page How-to guidesDaVinci Resolve how-to guides, collected in one place

This is the index page for the whole studio: start with the first session path if you are new, or jump straight to the task, the fix or the finishing detail you came for. Every guide runs on the same account.

Read the page
Ready when you are

Make the next cut land cleanly

Use a cut when the story moves, a dissolve when it needs air and a custom move only when the idea earns it.

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Video Transitions Online | DaVinci Resolve