Cut, or keep several parts at once — the picture is copied, not re-encoded, and nothing is uploaded.
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Cut a video, keep the picture as it is
MP4, MOV, WebM, MKV. The picture is copied, not re-encoded. Nothing is uploaded.
Cut the start and end off an MP4, MOV, WebM or MKV, or keep several parts at once, with the picture bit for bit identical. The fast mode copies the video instead of re-encoding it, so the work is bounded by how fast the file can be read rather than by an encoder: two measured cuts finished in 46 and 101 milliseconds. Free, no sign-up, and the file never leaves your device.
The video is copied, not re-encoded, so it is identical to the source
Measured: 15 seconds cut from a 62 MB 1080p file in 0.1 s
The cut runs on your device, the file is never uploaded
Choose an MP4, MOV, WebM or MKV. It stays on your computer and is never sent anywhere.
Drag the two handles, or type exact times down to the millisecond. The From playhead buttons take the time straight from the preview.
Add as many parts as you like and they come back as one file, or cut a stretch out and keep everything around it. Undo and redo, and Play the result skips the gaps so you hear the joins before you export.
A lossless cut can only begin on a keyframe, so the page reads your file and tells you the exact point it will start from. If that is too far off, switch to the exact mode in one click.
You get a clean MP4, MOV, MKV or WebM with no watermark, assembled on your own machine. A frame as a PNG or the whole thing as a GIF are one click away.
The fast mode copies the already encoded video frames into a new container rather than decoding and encoding them again. The result is not visually close to the original, it is the same data, so trimming twice costs nothing and a clip that took hours to export is not degraded by a five second cut.
Copying can only start on a keyframe, and different files place them anywhere from every couple of seconds to every eight or more. Rather than rounding quietly, the page reads the keyframe positions out of your actual file and prints the real start time under the mode switch, so the trade is visible before you spend the export.
An MP4 will happily hold VP9 video, and the file it makes plays in almost nothing. The tool matches the container to the codecs already in your file, so an H.264 clip comes back as an MP4 and a VP9 clip as a WebM, and it says so when a soundtrack cannot come along for the ride.
For a cut that has to start on a precise frame, the exact mode decodes and re-encodes the range instead. It is slower and costs a generation of quality, which is why it is not the default, and the page says which one you are getting.
A checkbox drops the soundtrack. On the fast path that is not extra work, it is one step skipped, so a silent clip comes out even quicker than one that keeps the sound.
Reading, cutting and writing all happen in your browser. There is no queue, no file size tier, no account, and no watermark on the way out.
Almost every online video trimmer works the same way: it decodes your clip into raw frames, throws away the ones outside your range, and encodes the rest again. That is why a thirty second cut can take minutes, and why the file that comes back is usually a little softer than the one that went in. Video codecs are lossy, so every extra encode spends quality you cannot get back.
There is another way to do it, and it is the one this page uses. A compressed video is a stream of encoded packets with timestamps. Trimming can be a matter of copying the packets inside your range into a fresh container and rewriting their timestamps, without ever decoding a single frame. The output holds exactly the same encoded data as the source, so the picture is identical, and because no encoder runs the work is bounded by how fast the file can be read. Measured on this tool: fifteen seconds cut out of a 62 MB 1080p recording finished in 101 milliseconds, and a seven second cut from a 10 MB, thirty second 720p clip took 46 milliseconds.
The main catch is that compressed video frames are not independent. Most of them describe the difference from a previous frame, and only occasional keyframes stand alone. A copy has to begin on one of those, because starting anywhere else means handing the player frames whose reference points are missing.
So the start of a lossless cut moves back to the nearest keyframe before the point you asked for. How far back depends entirely on how the file was encoded: one file may carry a keyframe every two seconds, another may go eight or more. That is the difference between an unnoticeable rounding and eight seconds of footage you did not ask for, which is why this page refuses to estimate it. When you move the start handle it reads the keyframe table out of your own file and prints the exact time the cut will begin. If the gap is large relative to the clip you are keeping it moves its own recommendation to the exact mode, and if the keyframe is so far back that the copy would be a different clip entirely, it stops and tells you rather than letting you find out afterwards.
It is worth being clear about which one you actually need, because reaching for the wrong one costs quality for nothing. Trimming changes how long the video is and nothing else. If your file is too big for an upload limit, cutting it shorter helps, but compressing it aims straight at a target size and keeps the whole clip. If the problem is that a landscape video looks wrong in a vertical feed, that is a resize, which changes the frame shape instead of the length.
Those two live on their own pages here and neither of them can be lossless, because both have to re-encode by definition. Trimming is the one of the three that can avoid it entirely, which is why it is worth doing first: cut the clip down, and you may find you no longer need to compress it at all.
Because everything happens on your machine, the limits are your machine. The cut is assembled in memory before it is handed to you, so the fast mode checks before it starts rather than after. It measures the encoded bytes your range actually contains and stops if that is more than this page is willing to hold at once, and it stops if the nearest keyframe is so far back that the copy would return footage you did not ask for. It also says up front when a codec or a rotation flag makes a lossless copy impossible at all. Cutting a short range out of a huge file is completely fine, because only the range is kept.
Format support follows your browser rather than a server. Reading is broad, so MP4, MOV, MKV and WebM all open, including H.264, H.265, VP9 and AV1. Some of those cannot be displayed in the preview even though they trim perfectly, and when that happens the page tells you the preview is the limitation rather than the tool. The exact mode needs an encoder, which current desktop browsers generally provide and which the page checks for before it starts, but the fast mode needs no encoder at all, which is part of why it works almost everywhere.
Most of the well known names upload your video, cut it on a server and re-encode it on the way back. Here is the honest split.
Use the fast mode, which is the default here. It copies the encoded video straight into a new file instead of decoding and re-encoding it, so the picture that comes out is the same data that went in. The main trade is that the cut starts at the nearest keyframe, and the page shows you exactly where that is before you press the button. Three smaller ones: the clip can finish a fraction of a second past the point you set, a soundtrack the output container cannot carry is left out, and only the main video and audio tracks come across, so a second language track inside an MKV does not. The page names the dropped soundtrack and the extra tracks on your own file before you export.
A lossless copy has to begin on a keyframe, because the frames in between only describe changes from earlier ones. Depending on how your file was encoded that keyframe can be a fraction of a second before your mark, or as much as eight seconds. The tool reads the real positions from your own file and prints the actual start time, and it refuses the fast cut outright when the keyframe is further back than the clip you are keeping, or ten seconds or more back, instead of quietly including the extra footage. If you need the exact frame, switch to the exact mode, which re-encodes the range.
No. The file is read, cut and written entirely in your browser. Nothing is sent to a server, no account is required, and closing the tab is enough to remove every trace of it.
MP4, MOV, MKV and WebM all open, and the video inside can be H.264, H.265, VP9, AV1 or VP8. The output container is chosen to match what is already in your file, so an H.264 clip comes back as an MP4 and a VP9 clip as a WebM. That is deliberate: putting the wrong codec in the wrong container produces a file that plays in almost nothing.
There is no imposed limit, but there is a real one: the cut is assembled in your browser memory. In the fast mode the page measures how many encoded bytes your chosen range contains and refuses up front if that is more than it is willing to hold, rather than failing at the end. Taking a short range out of a very large file is fine, because only the range is kept.
Yes. Both tracks are shifted by the same amount, so the relationship between them is preserved exactly. Audio packets are slightly longer than video frames, so the sound can start up to one packet later than the picture, which is a few hundredths of a second and not something you can hear.
Yes, there is a checkbox for it. On the fast path removing the audio is one step skipped rather than extra work, so it finishes even faster. It is also what the tool offers when a soundtrack cannot travel in the container your video needs.
When a video uses B frames, a frame inside your range can depend on one just past the end of it. Rather than dropping those and leaving a stutter at the end, the copy carries the few extra frames they need. The result is a fraction of a second longer than you asked for and complete, instead of exact and missing frames.
Drop a video in, set the range, and get a clean cut back with the picture untouched. No upload, no account, no watermark.
Runs entirely in your browser. Your files never leave your device.
