Video Effects

Add a clip, stack the looks and controls you want, watch the preview, then export.

1. 1

   Add your video

   Drag in an MP4, MOV, MKV or WebM, or click to browse. Nothing is uploaded.

2. 2

   Build the look

   Start from a preset, then adjust colour, add creative effects, or key out a green screen. The preview updates as you go.

3. 3

   Export

   Choose a format and resolution and apply. Change a setting afterwards and press Re-apply to bring the result up to date.

A look is what makes a clip feel like something. Teal shadows and warm highlights read as cinema; grain and a vignette read as film; a hard glitch reads as broken-on-purpose. All of it is colour and geometry decided before the file is written, and all of it happens here without the clip leaving your device.

What you get

• Effects that stack. A preset, colour adjustments, a vignette, grain and a stylised effect all compose in one pass — not one filter at a time.
• A preview you can trust. The preview runs the export's renderer at the export's dimensions, so what you approve is what you download.
• A green screen that produces transparency. Keyed pixels become genuinely transparent in a WebM, not black.
• Your own looks. Import a .cube LUT and apply it over everything else, with a strength control.
• Nothing uploaded. The clip is read, processed and written on your device. No file data is sent anywhere.

Every control below changes the exported bytes, and every one has a range chosen so that no value it offers produces a result the tool then has to clamp.

Light

• Exposure. A true linear multiply in ±3 stops, applied in linear light where a brightness change physically belongs.
• Contrast. Steepens or flattens around mid grey. It can never invert — the bottom of the range flattens to grey rather than going negative.
• Highlights and shadows. Recover a blown sky or open a dark face without moving everything else.
• Lift. Raises the black point for a faded, matte finish. This is the control the old tool called 'curves lift'.

Colour

• Temperature and tint. Warm/cool and green/magenta, the two axes every photographic tool uses for white balance.
• Vibrance. Raises saturation fastest on the least saturated pixels, so skin tones survive. Saturation alone at full turns faces orange, which is why both exist.
• Saturation and hue. Global intensity and a full ±180° rotation.

Creative

• Vignette. Darkens or lightens the edges with a real falloff, not a linear ramp from the centre.
• Film grain. Deterministic noise weighted toward the midtones. The same settings produce the same file every time.
• Sepia and monochrome. Two classic looks, each blendable rather than all-or-nothing.
• LUT import. Load a .cube file up to 64³ and blend it over the corrected image.

Stylised effects

• Blur and sharpen. A true Gaussian by radius, and an unsharp mask by amount.
• Pixelate. Block size scales with the frame, so the look is the same on a 4K clip and a 360p one.
• Invert. Blendable, so a partial invert is a usable colour effect rather than a switch.
• VHS. Chroma smear, scanlines, tape noise and a hashed vertical roll.
• Glitch. Horizontal bands displace and split into RGB, re-rolled on a fixed clock.
• Strobe. Alternating brightness at a rate you set in flashes per second, derived from time rather than frame number — so it runs at the same speed whatever frame rate you export at.

The key measures how far each pixel's colour sits from the key colour in the same space a broadcast keyer uses, so a green backdrop lifts cleanly while a green jumper does not. Similarity sets how much counts as background; smoothness sets how soft the edge is. Where the edge is partly transparent the remaining colour is pulled toward its own brightness, which is what stops a green rim surviving as a halo.

Transparency needs a container that can hold it

• WebM. Carries a real alpha channel. This is the format the tool selects when the key is on.
• MP4 and MOV. Cannot carry transparency, so they are disabled while the key is on. The tool this replaced ran the key and then discarded it — producing a file where the background was simply black.

Turn on the time range and pick what it means. 'Export only this segment' writes a shorter file containing just that span. 'Whole clip, effect inside the range' keeps the original length and leaves everything outside the range exactly as it was — the option to reach for when a grain hit or a colour shift belongs to one moment.

A file extension tells you almost nothing: an MKV can hold H.264, HEVC or AV1, and an MP4 routinely holds something one browser decodes and another refuses. So the tool reads the clip's header and asks your device directly whether it can decode what is inside, before anything runs.

In and out

• In: MP4, MOV, MKV and WebM. What opens depends on the codec inside and on your device — you are told, rather than left at a spinner.
• Out: MP4 and MOV (H.264), MKV (H.264), WebM (VP9, and the only one that carries transparency).
• Not supported: AVI, WMV, FLV, MPEG, 3GP, OGV and GIF. No browser can decode the first six on-device; convert them first and bring the result back.
• Audio: Copied, never re-encoded. Nothing about the sound changes.

The clip is read on your device, each frame is decoded, every effect you have set is applied to it in a single hardware-accelerated pass, and the frames are written back into a new file. Because the whole job runs in the background, the page stays responsive while it works, and because there is one renderer rather than one for the preview and another for the export, the two cannot disagree.

Hardware accelerated, and nothing is uploaded.

• Video color correction
• Video transitions
• Video compressor
• Video resizer
• Video to GIF
• Video converter