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Supports: CR2
This page pairs two formats from opposite ends of the media world: CR2 is Canon's raw still photograph, and RM is RealNetworks' RealMedia container from the dial-up streaming era. Converting one to the other takes a single high-resolution photo and wraps it inside a legacy video file, so the result is a silent clip showing one frozen frame. That is a genuine need only when some un-migrated system still expects .rm content. If you simply want to see, print or share the photo, CR2 to JPG is what you are looking for; if you want the still as a video clip that plays anywhere, use CR2 to MP4. Everything below documents exactly what the .rm will contain, so there are no surprises after you download it.
| Property | Value |
|---|---|
| Full name | Canon Raw version 2 |
| Type | Still photograph — raw sensor data, no motion, no audio |
| Container | TIFF / IFD structure, with the sensor mosaic packed using lossless JPEG |
| Bit depth | 12- or 14-bit per channel depending on the body |
| Typical frame | 18-30 megapixels on the bodies that wrote CR2 |
| Introduced | Canon DSLRs from the mid-2000s onward, including the EOS-1D Mark II, EOS 20D and EOS 350D / Digital Rebel XT |
| Superseded by | CR3, on Canon bodies from 2018 onward |
| Best for | The editable master you keep |
| Property | Value |
|---|---|
| Full name | RealMedia, from RealNetworks |
| Era | Late 1990s and 2000s streaming, designed for dial-up and early broadband bandwidth |
| Video codecs offered here | RealVideo 1.0 (RV10, the default) and RealVideo 2.0 / G2 (RV20) — both H.263-derived designs |
| Colour | 8-bit per channel, 4:2:0 chroma — no high-bit-depth path |
| Audio in this conversion | None; a still photo has no soundtrack, so no audio codec control is shown |
| Resolution ceiling here | RV10 and RV20 output is capped at 640 × 480, with both dimensions snapped down to a multiple of 16 |
| Native playback in 2026 | No browser, phone or smart TV decodes it; VLC lists Real Video 1/2/3/4 and the Real container among its supported formats |
| Best for | Feeding a legacy RealMedia system that has not been migrated |
.rm is written without a soundtrack. There is nothing to encode to RealAudio..cr2 photos onto the page or click "Add Files". This tool accepts .cr2 only. With several files, Merge strategy ships on Merge images, which builds one clip holding each photo in turn; switch to Video per image for a separate .rm per shot..rm. No sign-up and no watermark; files are uploaded over an encrypted connection, processed on our servers, and deleted automatically after a few hours.There is one honest answer: a legacy RealMedia workflow that nobody has migrated — an old intranet streaming server, a media archive indexed by .rm filenames, or RealPlayer-based courseware still in service. Outside of that, wrapping a photograph in a 1990s streaming video container gains nothing. If you actually want to view, edit or share the picture, CR2 to JPG is the right tool, and CR2 to MP4 gives you the still as a video clip that plays on anything made in the last fifteen years.
Not natively. No current browser, phone or smart TV decodes RealMedia, and RealPlayer itself is rarely installed today. What does still open these files is an FFmpeg-based player — VLC's feature list names Real Video 1/2/3/4 and the Real container explicitly. If your recipient cannot install VLC, this is the wrong format to send them and the conversion has probably solved the wrong problem.
Because RealVideo 1.0 and 2.0 are constrained codecs and our encoder clamps their output to a 640 × 480 ceiling, with each dimension rounded down to a multiple of 16. Feeding it a 1920 × 1080 source produces a 640 × 352 clip; a 20-megapixel Canon frame is reduced far more aggressively than that. Leaving Video resolution on "Keep original" does not override the ceiling — the codec simply cannot encode a full-resolution raw.
No. A photograph carries no audio track, so there is nothing to encode and the audio codec control is not shown on this page at all. The output is a silent clip. If you need narration or music over the image, that has to be added afterwards in a video editor, working from a modern container rather than RealMedia.
Stay on RealVideo 1.0 (RV10) unless the system you are feeding specifically asks for RV20. RV10 is the original RealVideo codec and the most broadly recognised by old RealMedia players; RV20 is the later RealVideo G2 generation. Both are H.263-derived designs encoded here through FFmpeg's open-source RealVideo encoders, and neither approaches the efficiency of a modern codec. H.264 is not an option inside a RealMedia container — if that is what you need, you want CR2 to MP4.
A great deal, and it is unavoidable. The CR2 holds 12- or 14-bit sensor data at 18-30 megapixels; RealVideo is an 8-bit codec whose output here is capped below VGA. Between the bit-depth reduction, the chroma subsampling and the heavy downscale, what survives is a small, soft version of the photo. Raising the Quality Preset reduces compression artefacts but cannot restore resolution. For a faithful copy of the picture use CR2 to JPG or CR2 to TIFF.
With one photo, the clip lasts exactly as long as Image Duration, which ships at 5 seconds per frame and can be set anywhere from a single frame up to 10 seconds. With several photos and Merge strategy on Merge images, the total is that duration multiplied by the number of images. Since every frame is identical within a still, a longer duration adds file size without adding information.
That is the reverse trip, and it is the more common one: use RM to MP4 to re-encode legacy RealMedia into H.264 that plays everywhere. It is also the sensible follow-up if you are migrating a RealMedia archive rather than adding to it — converting the collection forward once is far less work than keeping a RealPlayer-capable machine alive.
Your CR2 is uploaded over an encrypted connection, processed on our servers, and deleted automatically after a few hours. Files are never shared or made public, and there is no sign-up and no watermark. A raw file commonly runs 20-40 MB, so upload time is usually the longest part of a batch.