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Supports: AVI
Most people land here for one of two reasons: a Mac editor refuses to import a .avi, or an old Windows-era clip needs to live in an Apple workflow. AVI is Microsoft's RIFF-based container from the Video for Windows era; MOV is Apple's QuickTime container and the format Final Cut Pro, iMovie, and QuickTime Player expect. If you are editing on a Mac, convert. If you are archiving a DivX-era collection that already plays fine in VLC, there is no reason to touch it.
| Property | AVI | MOV |
|---|---|---|
| Introduced by | Microsoft, 1992 (Video for Windows) | Apple, 1991 (QuickTime 1.0) |
| Container structure | RIFF chunks and lists (Microsoft Learn) | QuickTime File Format atoms |
| Standards lineage | Microsoft spec plus OpenDML extensions | Used as the basis for the ISO base media file format behind MP4 |
| Codecs you actually meet | DivX, Xvid, MS-MPEG-4, MJPEG, uncompressed | H.264, H.265/HEVC, ProRes, MJPEG |
| Video this converter writes | — | H.264 (default), H.265, MPEG-4, MJPEG |
| Audio this converter writes | — | AAC (default), AC-3, MP3, PCM 16-bit, PCM 24-bit |
| Progressive playback | No index-relocation concept | Index can sit at the front of the file for faster start |
| Editors that like it | VirtualDub and older Windows tools | Final Cut Pro, iMovie, QuickTime Player, Premiere Pro, DaVinci Resolve |
| Web delivery | Not a web format | Not a web format — use MP4 for browsers |
| Best for | Legacy Windows archives, DivX/Xvid rips | Apple-ecosystem editing and mastering |
idx1 index..avi clip onto the page or click "Add Files" to browse. You can queue several files and convert them with the same settings..mov. No sign-up, no watermark.| Codec | Picture quality per megabyte | Where it fits |
|---|---|---|
| H.264 (default) | High | The safe answer — every current Mac, iPhone, and editor decodes it in hardware |
| H.265 / HEVC | Highest | Smaller files at matching quality; needs a reasonably recent Mac or Apple Silicon to decode smoothly |
| MPEG-4 (Part 2) | Modest | Older editing apps and hardware that predate H.264 |
| MJPEG | Low (large files) | Frame-accurate scrubbing and frame-by-frame review, where every frame is its own JPEG |
A 15-second 426x240 source clip converts to roughly 1.2 MB as H.264 with AAC audio at the default preset, and to about 5.5 MB with MJPEG video at the same settings — the codec choice moves file size far more than the quality preset does. If you need the file to play on the open web instead of in an editor, convert the AVI to MP4; to shrink a MOV you already have, use the video compressor.
It depends on the source codec, because the server always re-encodes rather than copying the stream across. If your AVI holds DivX or Xvid, going to H.264 is a fresh lossy pass, so keep the Quality Preset at "Very High (Recommended)" or "Highest" to make the loss hard to see. If the AVI already carries H.264, re-encoding to H.264 in a MOV wrapper is close to a wash at a high preset. Either way, quality is capped by the original footage — the encoder cannot restore detail the first compression discarded.
VLC ships its own decoders for the codecs that filled AVI files in the 2000s: DivX, Xvid, and MS-MPEG-4. Apple's QuickTime Player does not include them, so it opens the container, finds a stream it cannot decode, and gives you a black frame, an error, or audio only. Converting to a MOV with H.264 video and AAC audio hands QuickTime, iMovie, and Final Cut Pro a stream they decode natively, which is the whole point of this conversion.
Treat it as no. Browser handling of the .mov extension is inconsistent even when the file holds ordinary H.264 and AAC, and no browser guarantees it. If the file needs to play on a web page, in an HTML5 <video> tag, or in a link someone opens on an unknown device, use AVI to MP4 instead — MP4 with H.264 and AAC is the combination every current browser supports.
The video side offers H.264 (the default), H.265/HEVC, MPEG-4, and MJPEG. The audio side offers AAC (the default), AC-3, MP3, and PCM 16-bit or 24-bit. AAC is the right choice unless something downstream specifically asks otherwise: it is what Apple's own tools write, and it keeps the file small. PCM is worth choosing only when you are handing the file to an audio post-production step that wants uncompressed sound.
Plan on one video stream and one audio stream coming out. AVI files that carry a separate subtitle stream or several language tracks are unusual, and the conversion targets the primary streams rather than remapping extras. If your source has alternate audio tracks that matter, convert once per track or handle the remux in a desktop tool such as MKVToolNix before uploading.
Three levers, in order of effect. Switch File Compression to "Specific file size" and type the megabyte figure you need. Drop Video resolution to a smaller Preset Resolution such as 720p, which cuts the pixel count roughly in half for every step down. Or change the Video Codec to H.265, which reaches the same picture quality at a noticeably lower bitrate than H.264. For a MOV you have already produced, run it through the video compressor.
They are close relatives, not twins. Apple's QuickTime File Format was used as the basis for the ISO base media file format, which MP4 is built on, so both store data in nested boxes and both commonly carry H.264 video with AAC audio. The differences that matter in practice are ecosystem ones: MOV is the format Apple's editors prefer and can hold Apple-specific codecs such as ProRes, while MP4 is what browsers, phones, and streaming platforms expect. If you are editing, MOV; if you are publishing, MP4.
Your file is uploaded over an encrypted connection, converted on our servers, and both the upload and the finished MOV are deleted automatically a few hours later. There is no sign-up, no watermark, and files are never shared or made public. The original .avi on your own machine is never modified. For very large source files the practical limit is upload size and time over your connection rather than any per-file cap.