convert to
resize
✓ EXIF, GPS and all other metadata are removed from the output.
Drop images here
or click to browse — PNG, JPEG, WebP, GIF, HEIC, AVIF, SVG — you can also paste images (Ctrl+V) anywhere on this page
Move an AVIF onto a format more tooling accepts — and keep the animation, which every other target on this site would drop.
Your files never leave your browser — all processing is local.
✓ EXIF, GPS and all other metadata are removed from the output.
Drop images here
or click to browse — PNG, JPEG, WebP, GIF, HEIC, AVIF, SVG — you can also paste images (Ctrl+V) anywhere on this page
Start with what does not go, because it is the reason to choose this target: the animation. This converter writes animated output for two formats, and WebP is one of them. When the browser's ImageDecoder reports more than one frame, each frame is decoded, re-encoded and reassembled into an animated WebP carrying the original delays and loop setting, with an optional frame-rate cap if you want a smaller file. Only if that assembly throws does it fall back to a single still, and it says so in a warning rather than dropping the motion quietly. One honest caveat: in a browser without WebCodecs ImageDecoder the animation probe finds nothing at all and you get the first frame — the warnings after the conversion tell you which of the two you received. Alpha is equally safe, carried through with no background applied.
What does go is depth and range. The source format is specified for 10- and 12-bit samples and an HDR transfer function; the target has neither, and in any case the pixels arrive at the encoder as an 8-bit buffer read back from a canvas. An HDR grade is therefore flattened to standard range before encoding, and a 10-bit gradient can band once it is reduced to 256 levels per channel. The embedded ICC profile and any metadata are not transferred either, so the output is untagged and read as sRGB.
The rest is the ordinary cost of a second lossy pass. Both formats are lossy at the default settings, and the new encoder cannot tell the previous one's smoothing from real texture, so it reproduces it and quantizes again on top. The lossless checkbox in the settings does apply to this target and will preserve the decoded pixels exactly — but it preserves the existing artifacts exactly too, and produces a much larger file, which on a photographic source is rarely what anyone wants.
On 2026-09-12 the script measured a 1280 × 854 source at quality 85, speed 8 — 491,861 bytes — and re-encoded it at quality 85 as a lossy WebP: 312,694 bytes, about 36% smaller. Read that carefully, because it is the opposite of what the reputation of the two codecs predicts, and it is not a refutation of it. Both encoders were set to 85 on scales that are not a shared unit, and the second one aims lower than the first, so it produced a smaller and less faithful file. From an uncompressed master at matched visual quality the newer codec wins comfortably. What the number does prove is that you should judge this conversion by looking at the result and the size readout, not by the slider position.
Do not convert if nothing downstream actually refuses the source — every current browser reads it, and you would be paying a lossy generation for no benefit. Do not convert an HDR or 10-bit image you intend to keep as a master, because the range is flattened on the way through. Do not re-transcode a whole library on the strength of one measurement; each pass costs detail, and small assets are dominated by container overhead anyway. The good reasons are concrete: a CDN or image pipeline that cannot process the source, an older Safari target, a platform or upload form that rejects the extension, and above all an animation you need in a format that far more tools will accept — that is the case this route handles better than any other target here.
Conversion happens entirely in your browser — no upload, no queue, no watermark. Drop in as many files as you like and download them individually or as a zip.
Yes, in browsers that provide WebCodecs ImageDecoder: every frame is re-encoded and reassembled with the original delays and loop setting, and there is a frame-rate cap if you want a smaller file. Without that API the probe finds nothing and you get the first frame instead, which the warnings make clear.
Lower quality, mostly. The measured sample went from 491,861 to 312,694 bytes, but both encoders were set to 85 on scales that do not match, and the second aims lower. Compare the picture and the size readout rather than assuming the slider means the same thing on both sides.
No. The target format has no HDR support and no depth beyond 8 bits, and the pixels reach the encoder as an 8-bit buffer regardless. An HDR grade is flattened to standard range on the way through, and smooth 10-bit gradients can band once reduced to 256 levels per channel.
No. Conversion happens inside your browser using the canvas API and a Web Worker — files never leave your device. There is no upload step, no queue and no file size limit beyond your machine's memory.
No — and that's a feature. Re-encoding through the canvas strips all metadata: GPS location, camera model, timestamps and color profiles. The output contains pixels only, which is usually what you want before sharing an image publicly.
Yes. Drop or paste any number of files; each is converted in the background with its own progress and download button, and you can grab everything at once as a .zip archive.
It depends on the target. The converter always decodes to raw pixels and re-encodes, whichever formats are involved, which is also how metadata gets stripped. For lossless targets (PNG, and GIF within its 256-color limit) the pixels stay identical to what was decoded; for JPEG, WebP and AVIF the quality slider controls the trade-off, and converting a file that is already lossy adds one more generation of loss.