Why filmmakers use these
Format mismatches, sample rate conflicts, loudness drift
Video edits live at 48 kHz, music gets exported from DAWs at 44.1 kHz, and stock SFX come in any format. A film audio pipeline ends up converting between rates, depths, and containers constantly. Browser tools handle the small one-off conversions that don't justify booting Pro Tools for a 5-second clip.
The lineup
9 tools for filmmakers
MP3 to WAV for filmmakers
Convert MP3 to 16- or 24-bit lossless WAV in seconds.
Open guide →MP3 to FLAC for filmmakers
Re-encode MP3 audio into a lossless FLAC container.
Open guide →WAV to FLAC for filmmakers
Shrink WAV files into lossless FLAC without quality loss.
Open guide →MP3 to OGG for filmmakers
Convert MP3 to open-source Ogg Vorbis.
Open guide →WMA to MP3 for filmmakers
Convert legacy Windows Media WMA into MP3.
Open guide →AIFF to WAV for filmmakers
Convert Apple AIFF master files to WAV.
Open guide →Audio Reverser for filmmakers
Reverse any audio file for risers, FX, or sample flips.
Open guide →Fade In / Fade Out for filmmakers
Add smooth fade-ins and fade-outs to your audio.
Open guide →Loop Maker for filmmakers
Create seamless audio loops from any sample.
Open guide →Filmmakers FAQ
Why does video use 48 kHz instead of 44.1 kHz?
Broadcast standards. Cinema, broadcast TV, and streaming video all standardize on 48 kHz, while music streaming (Spotify, Apple Music) standardizes on 44.1 kHz. If your audio came from a music project, resample to 48 kHz before importing into your video timeline.
What loudness for streaming video?
Streaming video targets -23 LUFS for broadcast (EBU R128) or -16 LUFS for Netflix/streaming. YouTube uses -14 LUFS. Match the platform you're delivering to.
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Supports WAV · FLAC · MP3 · M4A · AIFF