Online Video Editor

Trim, cut and join clips, then save a real MP4 — all on your own machine

Clips

Drop video files here or click to choose them — up to 1000 files, 24 hours in total
Files are read straight from the disk and never leave the browser — nothing is uploaded and no account is needed. Long clips are read as they play, so a very large file costs time rather than memory.

The edit

A piece runs from its start to its end, and the pieces play in the order shown. To cut something out of the middle, split the piece where the unwanted part begins and delete the half you do not want. Each piece shows the frame it opens on, and its own play button runs that piece by itself, sound and all.

Preview

0:00.0 / 0:00.0
The preview is framed exactly as the finished file will be, so what the bars and the crop do to a shot is visible before anything is written. Space starts and stops it; the arrow keys step a frame at a time, or a second at a time with shift held.

The finished file

A resolution names the short side of an upright shape and the tall side of a wide one, so 1080p is 1920×1080 lying down and 1080×1920 standing up.

Save it

The sound of an ordinary clip is read straight out of the file and compressed as fast as the machine will go, so keeping it costs almost nothing. Only a clip too long to hold in memory has to be listened to as it plays, and that one is read at its natural speed.

About editing video in a browser

For most of the medium's history, cutting film meant a room full of equipment and, later, a desktop application heavy enough to need its own machine. What changed is not that video became simpler but that the ordinary browser grew the parts a cutting room needs: it can now decode a moving picture, hand the individual frames to a page, and compress new ones back into a standard file. A trim that once meant installing software and waiting for an upload is now a page you open and close.

The vocabulary is worth knowing, because it is the same everywhere. Resolution counts the lines in the picture — 1080p, 1440p, 4K — and governs how much detail survives. Aspect ratio is the shape of the frame, and it is a stronger choice than it looks: 16:9 is the shape of televisions and most of the web, 9:16 belongs to the phone held upright, 21:9 is the wide cinema frame, 4:3 is the shape of everything shot before the mid-2000s, and 1:1 is the square that social feeds settled on. Putting a shot into a frame it was not filmed for means either accepting bars along two edges or cropping away part of the image, and there is no third answer.

Two habits save more trouble than any tool. Cut for the audience rather than for the footage: the interesting part almost always starts later and ends earlier than the raw clip does, and a ruthless trim is usually the single biggest improvement available. And decide the destination before exporting rather than after, because every platform has a shape and a size it prefers, and a file made for the wrong one gets re-compressed on arrival — which is where sharp footage quietly turns soft.