Video Filters Online - Black and White, Sepia, VHS and More

Add a filter to a video in your own browser: black and white, sepia, noir, vintage, a cinematic teal-and-orange grade, old film grain or a worn VHS tape. Ten video effects, each one drawn on your own first frame before you choose it, with a before and after slider across the preview so you can see exactly what changed. Nothing is uploaded - the video is read, graded and written back out on your own device.

Drop your video here

or click to select a file

Works with MP4, MOV, WebM and MKV

🔒 Your files never leave your device - 100% private & secure

🔒100% Private
⚡No Upload
🎨Ten Filters
🆓Completely Free
✨No Watermark

How to Add a Filter to a Video Online for Free

  1. Load your video

    Drop a video into the box above or click to browse. MP4, MOV, MKV and WebM all work. Every filter is immediately drawn on the first frame of your own clip, so you are choosing between ten pictures rather than ten words.

  2. Pick a filter

    Black and white, sepia, noir, vintage, cinematic, old film, VHS, warm, cool or inverted. The large preview below the tiles plays your clip with the effect running on it, and a before and after slider runs down the middle - drag it to put the original and the filtered version side by side on the same frame.

  3. Set the strength

    Subtle, Medium or Full. Full is the look as designed; Subtle mixes it back towards your original, which is usually what you want for a warm or cool grade you do not want anyone to notice.

  4. Apply and download

    Click Apply Filter, then download the finished file. The audio is carried over untouched wherever the output format allows it - nothing here changes the sound.

What each of the ten video effects is for

A filter is not decoration when it is chosen on purpose. Black and white takes colour out of the decision entirely, which is why it still rescues footage shot under mixed lighting - a room half daylight and half tungsten reads as a mess in colour and as one picture in mono. Noir is the same idea pushed: heavy contrast and a vignette, so the blacks go properly black and the eye is pulled to the middle of the frame. Sepia and vintage both warm the picture towards paper and skin tones, sepia more completely, vintage with the colour left partly in.

Cinematic is the split-tone that most people mean by "film look": teal pushed into the shadows, amber into the highlights, contrast lifted. It works because skin sits in the highlights and almost everything else sits in the shadows, so the two halves of the picture separate without anything being masked or tracked. Old film adds moving grain and a vignette over a desaturated warm base. VHS splits the colour channels a few pixels apart, lays scanlines over the result and adds tape noise - the three things a worn tape actually did, which is why it reads as a tape rather than as a sepia photo.

Warm and cool are the quiet ones, and at Subtle strength they are the two most useful filters here: a warm nudge on an interview shot under an overcast sky, a cool nudge on footage that came out too yellow indoors. Invert is a straight negative, occasionally genuinely useful for reading a document or a screen that was shot dark.

Why the preview matters more than the tile

Every filter on this page looks different in motion than it does on a still. Grain and tape noise move; a vignette that reads as moody on one frame reads as a dark tunnel once the camera pans; a contrast push that flatters one lit shot crushes the next one in the same clip. That is why the preview is a playing video with the effect running on it, not a still image with a label under it - and why the tiles are drawn from your footage rather than from a stock photograph.

It is honest in a more specific sense too. The colour maths the preview runs is the same code the encoder runs: the same filter chain, the same grain tile, the same channel offset as a fraction of the frame width. Where the browser can do it, the preview hands that work to the compositor so it costs nothing per frame, and where it cannot - the old film and VHS looks, which have a moving grain layer and a channel split that CSS has no way to express - the preview draws each decoded frame through the encoder's own function instead. Either way, what you watch is what gets written.

All of it runs on your device. The video is decoded, redrawn frame by frame with the filter composited in, and re-encoded using WebAssembly and WebCodecs in your own browser. It is never uploaded to a server, there is no account, no watermark, no queue, and no file size limit beyond your device's own memory.

Frequently Asked Questions

How do I make a video black and white?

Load the video, click the Black and White tile, and click Apply Filter. That is the whole job. If you want a heavier, more dramatic mono, use the Noir tile instead - it is the same desaturation with much stronger contrast and a vignette. If you want a partly drained look rather than full mono, set the strength to Subtle or Medium, which mixes the grey back towards your original colours.

How do I add a VHS effect to a video?

Pick the VHS tile. It does three things at once: it splits the red and cyan channels a few pixels apart, lays scanlines over the picture, and adds moving tape noise, on top of a saturation and contrast push. Those are the artefacts a worn tape really produced, which is what makes it read as a tape rather than as a generic old-looking filter. Drop the strength to Medium if the full effect is too much for the footage.

How do I give a video an old film look?

Use the Old Film tile. It desaturates and warms the picture, adds a vignette, and lays moving grain over the whole frame. The grain is the part that matters: a still, grainless sepia picture reads as a photograph, and it is the moving grain that reads as film. For a gentler version of the same idea with no grain, use Vintage instead.

What does the Cinematic filter do?

It applies the teal and orange split-tone used on most modern films and trailers: the shadows are pushed towards teal, the highlights towards warm amber, and the contrast and saturation are lifted a little. Because skin tones live in the highlights and most backgrounds live in the shadows, the effect separates a subject from their background without anything being selected, masked or tracked.

Can I preview the filter before converting?

Yes, in three ways. Each of the ten tiles is drawn from the first frame of your own video, so you can compare all ten video effects side by side on your actual footage. Below them, a larger preview plays the clip with the selected filter running on it, so you can see how it holds up in motion - which is where grain, scanlines and a strong vignette either work or do not. And a before and after slider runs across that preview: drag it anywhere to split the picture between your original and the filtered version, on the same frame at the same instant, which is the only way to judge a subtle grade honestly.

Does the filter change the video quality or size?

The video is re-encoded, because every frame is being redrawn - there is no way to change a picture's colours without writing new frames. The target bitrate is matched to what your source already used, so the result should look equivalent and come out a similar size. The two exceptions are Old Film and VHS: grain and scanlines are fine detail that an encoder has to spend real bits on, so those two can produce a slightly larger file than the original.

Does it change the audio?

No. The soundtrack is copied across untouched wherever the output container can carry it, which means no quality is lost and no re-encoding happens on the audio side at all. It is only re-encoded when the format you have chosen cannot hold the codec your source used - an MP4 output from a source with Vorbis audio, for instance.

Can I apply more than one filter?

Not in a single pass, but you can run the finished file through the tool again with a second filter - each pass keeps the grading already applied. It is worth being sparing: two filters stacked usually looks like a mistake rather than a choice, and each pass is another re-encode. Stacking a subtle warm grade under a grain pass is the combination that tends to be worth it.

Can the filter be removed later?

Not from the file you download. The new colours are drawn into every frame and then encoded, so the original values are genuinely gone rather than sitting behind a layer someone could peel off. Your source file is left untouched on your device, so keep it if you might want the ungraded version back.

Is my video uploaded anywhere?

No. Every step runs in your browser using WebAssembly and WebCodecs - the file is read from disk, processed in memory and written back out locally. Nothing is sent to a server, there is no account, and no copy of your video exists anywhere but your own device.

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