Compress a large MOV and export a smaller H.264 MP4 in one cloud job. This keeps the picture while replacing editing-oriented or high-bitrate tracks with a shareable file.
MOV is common from iPhones, cameras and editors. It may contain efficient HEVC, editing codecs or simply a very high bitrate; the .mov extension alone does not predict size.
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Checking your file limits…
Supported: mp4, webm, mov, mkv, avi, wmv and 33 formats in all
A compatible MP4 output avoids the MOV playback failures common in forms and browsers while the selected target controls the final upload size.
| Plan / upload method | Maximum file size |
|---|---|
| Web or CMS H.264 MP4 upload | 100 MB 95 MB leaves room below a common 100 MB cap. |
| Email or chat attachment | 20 MB Use about 19 MB for a 20 MB attachment limit. |
| Small form upload | 10 MB Use about 9.5 MB when a form enforces 10 MB. |
Limits verified 2026-10-30. Sources: Apple — QuickTime File Format · MDN — Media container formats: MPEG-4 (MP4)
Every other page tells you the limit and stops there. The limit is the easy half. Here is the half that decides whether your video is watchable: at a 95 MB target, this is exactly how much bitrate is left for each duration, and the largest resolution that bitrate can carry without falling apart.
| Video length | Bitrate left for video | Resolution it carries | Verdict |
|---|---|---|---|
| 1 min | 12,888 kbps | 1440p | Looks fine |
| 5 min | 2,475 kbps | 720p | Looks fine |
| 10 min | 1,174 kbps | 480p | Looks fine |
| 30 min | 306 kbps | 360p | Visibly rough |
Method: the bitrate column is arithmetic — 95 MB spread across the duration, minus 128 kbps for stereo audio and 2% for container overhead. It is a hard ceiling, not an estimate. The resolution and verdict columns are a recommendation, derived from published H.264 bitrate ladders and pulled down about a third, because re-encoding footage that has already been compressed once survives lower bitrates than encoding a clean master does. Deliberately conservative — we would rather under-promise than tell you a video will look fine when it will not.
The left column is what you have to spend at each length; the cells are what each resolution needs. Green means you clear it comfortably, amber means it is watchable but soft, and grey means pick a smaller frame. Reading down a column shows how long a clip can get before that resolution stops being worthwhile on MOV video.
Source: Computed, not measured — no encoder was run to produce this figure · Method: 95 MB spread over the duration, minus 128 kbps audio and 2% container overhead. Thresholds come from published H.264 bitrate ladders, reduced by about a third for re-encoded source.
Recent iPhones can record efficient HEVC video, high frame rates and HDR inside MOV. The file may already be compressed efficiently even when it is large. Converting it to H.264 MP4 improves compatibility, but matching the original visual quality can require more bitrate because H.264 is older. Check bright highlights, skin tones and gradients after conversion because HDR to standard dynamic range handling can matter more than the final byte count.
A MOV from an editor may contain ProRes or another production codec designed for fast seeking and repeated edits rather than delivery. Those files are intentionally large. Exporting H.264 MP4 can reduce them dramatically, but the result should be treated as a delivery copy. Keep the ProRes or camera master for future editing because detail discarded by the delivery encode cannot be restored.
A 60 fps recording has twice as many frames as a 30 fps recording of the same duration. Multiple audio tracks or uncompressed audio can also add size. When the target is tight, preserve the frame rate only when motion benefits from it and keep the audio track the recipient needs. For a talking head or slide recording, 30 fps and efficient AAC audio often leave more of the budget for readable video.
The goal is not to claim that MOV is defective. MOV is flexible and valuable in Apple and editing workflows. The conversion is for delivery environments that reject MOV, mishandle its codec or require a hard upload limit. H.264 MP4 is chosen because it is easier to play, preview and upload across mixed devices. Verify the output in the actual browser or app before deleting anything.
MP4, MOV, MKV, AVI, WebM and 33 formats in all. Nothing to install — your browser uploads over a one-time link and the file never touches a third party.
We pre-set it below the hard ceiling on purpose. A target-size encode usually lands within a couple of percent of the number you gave it, but we have measured footage that overshoots by up to a tenth — and landing over a hard limit means the upload fails. Change it if you want a different number.
Encoding runs on our servers, so you can close the tab. The result comes back with no watermark on any plan, in an MP4 that a MOV video will accept.
Yes. Upload the MOV, choose a target size and export H.264 MP4 for broad playback support.
High resolution, frame rate, HDR and bitrate all add data. A 4K or 60 fps recording grows quickly even with an efficient codec.
Re-encoding is lossy, but a sensible target preserves useful detail. If the source already uses H.264, changing only the container would not reduce size.
H.264 video with AAC audio in MP4 is the safest choice for current browsers, phones and editors.