Trim MOV video by setting start time and duration. Remove unwanted sections from iPhone recordings, QuickTime captures, and Final Cut Pro exports.
Process files in seconds with our optimized servers
Set exact start and end points with frame accuracy
Maintain original quality with smart re-encoding
MOV is Apple's QuickTime container — the default for iPhone video, QuickTime screen recordings, Final Cut Pro / iMovie exports, and many DSLR/mirrorless cameras shooting ProRes or H.264. Trimming extracts a portion without touching the rest of the timeline: the kept range is decoded and re-encoded at the visually-lossless default preset, so the cut is frame-accurate and the clip stays true to the source. Common reasons to trim:
For longer multi-segment edits or format conversions in the same pass, see Video Cutter, MOV to MP4, or Compress MOV.
| Property | Default settings | Custom settings |
|---|---|---|
| Speed | Proportional to clip length | Proportional to clip length and codec |
| Quality | Re-encoded at the visually-lossless preset (CRF 18 H.264 / CRF 17 HEVC) | Whatever CRF / bitrate you choose |
| Output codec | Standard delivery codec in MOV | Any supported (H.264, H.265, AV1, VP9, MJPEG) |
| Cut accuracy | Frame-accurate | Frame-accurate |
| Output container | MOV | MOV (or change to MP4 / MKV / WebM via Convert) |
| File size | Same proportion as duration kept | Variable by codec / quality settings |
| Best for | Quick extraction at source-matching quality | Codec change, smaller file, different resolution |
Keyframe layout doesn't limit the cut point: the kept segment is decoded and re-encoded, so cuts are frame-accurate (the exact moment a goal is scored, the precise word in a podcast) even when the source has keyframes only every 2-10 seconds.
| Source codec | What the trim does | Notes |
|---|---|---|
| H.264 (iPhone, most cameras) | Frame-accurate re-encode at CRF 18 | Universally supported output |
| HEVC / H.265 (iPhone since iOS 11) | Frame-accurate re-encode at CRF 17 | Keeps HEVC's ~50% size advantage over H.264 |
| ProRes 422 / 4444 (Final Cut, DSLR) | Frame-accurate re-encode to a delivery codec | Editing-grade headroom is lost — trim a copy, keep the master |
| MJPEG (older DSLR, screen capture) | Frame-accurate re-encode; pick H.264 to shrink 5-10× | |
| ProRes RAW | Frame-accurate re-encode to a delivery codec | Grading latitude does not survive — keep the RAW master |
Not visibly. The trim decodes the kept range and re-encodes it at the visually-lossless default preset (CRF 18 for H.264 / CRF 17 for HEVC), so the clip is not bit-identical to the source but is visually indistinguishable from it. The upside is precision: the cut is frame-accurate instead of snapping to the nearest keyframe. If you're working with a ProRes or other edit-grade master, trim a delivery copy here and keep the untouched master for grading.
There's no fixed cap. Trimming runs on our servers, so the practical limit is upload size and connection speed and your patience for the upload. Multi-GB ProRes masters and hours-long QuickTime screen recordings work — competitors like online-video-cutter.com cap at 4 GB; XConvert does not. Processing time scales with the length of the segment you keep, not the full source duration.
Yes. Add multiple trim segments — each pair of start time + duration produces a separate output clip. Useful for pulling 5 highlights out of a basketball game, splitting a 2-hour course into 10-minute chapters, or extracting just the demo segments from a long Zoom recording.
With XConvert it shouldn't — the trim re-encodes the kept segment, so the cut starts at your exact timestamp. The snap you're describing is how stream-copy cutters behave: they can only cut on keyframes, and most MOVs from iPhone, QuickTime, and Final Cut have a keyframe only every 2-10 seconds, so those tools rewind to the nearest preceding one. Here the cut is frame-accurate.
Audio stays in sync — video and audio are re-encoded from the same start offset, so timing is maintained. One caveat: slow-motion MOVs from iPhone are stored at high frame rate with a metadata flag for the slow-mo region, and that flag may not survive the re-encode. If the slow-motion effect must play back exactly as edited, export the clip from the Photos app first (which bakes the effect in), then trim here.
Yes. The output is a standard MOV that imports into Final Cut Pro, iMovie, DaVinci Resolve, and Premiere. Note the video is re-encoded to a standard delivery codec — a ProRes master does not come back out as ProRes, so for edit-grade intermediates trim a working copy and keep the master. Pick H.264 for maximum compatibility (iOS, Android, Windows, web) or HEVC for smaller files at the same quality.
Yes. In step 3, switch to re-encode and choose MP4 as the output container — you'll get a trimmed MP4 in one pass instead of running trim then convert separately. For pure MOV-to-MP4 with no trim, use MOV to MP4 directly.
Yes. Drop in several MOVs and the same start time + duration applies to each output. Useful for extracting the same segment from multiple camera angles of one event, or trimming the same 5-second intro off a batch of episode files. Per-file overrides are also supported if one clip needs a different range.
In practice they're the same operation. Some apps reserve "trim" for shaving the start/end and "cut" for splitting at a point or extracting a middle portion — XConvert handles all three patterns through the same start time + duration controls. See Video Cutter for the same workflow framed around mid-clip extraction.