Convert MOV to ZIP

Barely smaller, and that is expected. An MOV already holds its contents in compressed form, so general-purpose compression has almost nothing left to find and the archive lands within a few per cent of the total it was given. Pack it anyway for the reasons that have nothing to do with size: one file to send instead of forty, one download, one checksum, and the folder layout preserved on the way out. A MOV normally carries H.264 or HEVC for delivery, or ProRes when it is an editing master, alongside AAC or uncompressed PCM audio.

Only with the right player, which is the one thing worth checking before sending it. An MOV is not a format a browser or a phone gallery opens on its own, so the recipient needs a real media player installed and a share of them will not have one. The archive does nothing about that either way — it stores the file whole and hands it back identical. If the person on the other end is not technical, convert the contents to a browser-native format first and archive that instead. MOV files are large, and outside the Apple ecosystem playback support is patchier than MP4 — older Android builds and some Smart TVs will refuse them.

It is the case where an archive earns its keep. An MOV is a working master, so what you want years from now is the file exactly as it left the software that wrote it, not a smaller version of it — and an archive gives back bit-identical files with the folder structure and names that made the project navigable in the first place. Put a plain text note inside listing what the files are and which application produced them. A master with no context is only half archived. MOV is the QuickTime container, which Final Cut Pro, Premiere and DaVinci Resolve all open natively.

Not reliably, no. A handful of desktop players will reach inside an archive and play a track from it, but phones, browsers, smart TVs and every streaming device expect a plain file, so the practical answer is to unpack first. That is the trade an archive asks for: it is a container for moving and storing media, not for playing it, and the MOV that comes out is bit-identical to the one that went in.

Size is the constraint, and it is worth planning around rather than discovering. Video runs to hundreds of megabytes an hour, so a set of MOV files reaches the per-file upload limit long before the same number of documents would, and the archive that comes back is essentially the sum of its parts because the payload is already compressed. Pack in batches rather than all at once, and check where it is going before you send it: plenty of mail systems refuse anything past twenty-five megabytes whatever is inside it. MOV is Apple’s QuickTime container, shipped in 1991 and still the format an iPhone, iPad or Final Cut Pro timeline writes by default.

Free conversions have a size limit per file, set by the type of file, and the page tells you when a file is over it. A paid plan removes that limit, so much larger files can be converted.

Several files in one job need a paid plan. Free use is one file per conversion, one conversion an hour. On a paid plan you can add several files to one job, then download each result on its own or all of them in one ZIP.

Yes — the UI is responsive and the conversion pipeline runs server-side, so mobile devices upload-then-download just like desktops. iOS and Android browser file pickers (camera roll, Files app) work end-to-end.

Chrome, Firefox, Safari (15+), Edge, and Opera. The converter uses standard `<input type="file">` upload — no WebAssembly or PWA dependencies — so even older browsers work.