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Supports: AVCHD
This tool pulls one still frame out of an AVCHD camcorder clip (the H.264 video Sony and Panasonic recorded as .MTS/.M2TS files) and saves it as a TIF image — the format print shops, archives, and photo editors standardize on. If that frame is headed for a print, an archival master, or precise color editing, extract to TIF. If it's just going on a website or into an email, JPG is the lighter choice. The short version: pick TIF when every pixel matters downstream; pick JPG when the still is for the screen.
| Property | TIF | JPG | PNG |
|---|---|---|---|
| Compression | Lossless (None / LZW / Deflate / PackBits) or lossy JPEG-in-TIFF | Lossy (DCT) | Lossless (Deflate) |
| Bit depth per channel | 1, 8, or 16-bit | 8-bit only | 8 or 16-bit |
| Color models | RGB, CMYK, grayscale | YCbCr (RGB on export) | RGB / grayscale + alpha |
| Typical size (1080p frame) | Large (~6 MB uncompressed 8-bit; less with LZW) | Smallest | Medium |
| Browser preview | No — Safari only (MDN) | Yes, universal | Yes, universal |
| Print / archival use | Yes — the print-and-archive standard | Adequate for casual prints | Web-oriented, no CMYK |
| Best for | Print, archival masters, color editing | Sharing and emailing stills | Web/UI graphics, sharp edges, alpha |
.MTS or .M2TS clip onto the page, or click "+ Add Files". On a camcorder card the clips live under PRIVATE/AVCHD/BDMV/STREAM/ — browse into that STREAM/ folder and upload one stream file, not the top-level AVCHD folder.3.500 grabs the frame at 3.5 seconds. That single frame becomes your TIF; switch to Multiple Screenshots to sample several frames and download them together as a ZIP.Just one frame. This tool reads the H.264 video inside your AVCHD clip, grabs the single frame at the timestamp you set under Frame Selection, and saves it as a static TIF — the moving video is discarded. TIF can technically hold several images in one file, but here each grab is a separate .tif (and Multiple Screenshots mode delivers a batch as a ZIP, not one multi-page TIF). If you want the moving clip in a modern format, convert AVCHD to MP4 instead.
AVCHD isn't a single file; it's a folder tree. Sony and Panasonic store recordings under PRIVATE/AVCHD/BDMV/STREAM/, where each clip is a .MTS file (it becomes .M2TS once copied to a computer). Browse into that STREAM/ directory and upload the individual clip — uploading the top-level AVCHD folder won't work because it isn't a single media file. A file already labeled .avchd holds the same H.264 bytes and grabs identically. If your footage already carries the .mts extension, the direct MTS to TIF route does the identical extraction.
Because much AVCHD footage is interlaced — the 1080i mode records each frame as two fields captured a fraction of a second apart, so a single extracted frame can show comb-like lines on anything that was moving. The fix is to pick a moment where the subject is stationary: nudge the Time (seconds) value a few hundredths of a second until you land on a still instant. Progressive clips (1080p/720p) don't have this issue. This matters more for TIF than JPG, because a lossless TIF faithfully preserves the combing instead of softening it away.
Pick LZW or Deflate and it is fully lossless: their decoded pixels are identical to uncompressed, and they shrink a typical 8-bit frame by roughly 30–50% while staying readable in essentially every TIFF app (Photoshop, Affinity Photo, GIMP, ImageMagick, Preview). Choose None for an uncompressed archival master. The one trap: the Compression Type dropdown also offers JPEG, which stores the frame inside the TIF with lossy DCT compression — that defeats the point of using TIF for fidelity, so avoid it unless you specifically want a smaller, lossy .tif.
No — and this is the honest catch. TIF is a lossless wrapper, so it stores the extracted frame without adding any further compression loss on top of what the H.264 codec already did. But the frame you start with is whatever AVCHD recorded — HD-era at best (1080i/1080p/720p), and softer if the footage was interlaced or shot in low light. TIF preserves those pixels exactly; it cannot restore detail the original encode never captured. You get a faithful, re-editable copy of an existing HD frame, not an upscaled or restored one.
A 1920×1080 frame is about 2.1 megapixels, which at a full 300 DPI prints close to 6.4 × 3.6 inches — a clean 4×6-style photo, not a poster. Drop to roughly 150 DPI (still acceptable viewed at arm's length) and the same frame covers about 12.8 × 7.2 inches. HD camcorder frames make decent small-to-medium prints; the limit is the source resolution, not TIF, which carries those pixels to the lab losslessly. In our testing, a 1080p frame saved as uncompressed 8-bit RGB TIF landed near 6 MB (matching the pixel math, 1920 × 1080 × 3 bytes ≈ 5.9 MB), dropping to roughly 3–4 MB with LZW or Deflate at zero quality loss. For a still you'd rather post or email than print, extract to JPG instead — TIF won't preview in most browsers. (.tif and .tiff are the same format — the AVCHD to TIFF converter outputs the four-letter spelling.)
Your AVCHD clip is uploaded over an encrypted (TLS) connection, processed on our servers, and the files are deleted automatically a few hours after conversion. There is no sign-up, no watermark on the output, and your files are never shared or made public. Note that the clip carries full HD video alongside the frame you want, so a long recording can take a while to upload over your connection — the practical limit here is upload size and time, not the frame grab itself, which is quick.