Video File Size Calculator
Enter your video duration, resolution, frame rate, and codec to get an estimated file size. Compare all codecs side by side to plan storage and upload requirements.
| Codec | Bitrate | Estimated Size | Use Case |
|---|---|---|---|
| H.264 ← | 8 Mbps | 600 MB | Delivery / upload |
| H.265 | 4 Mbps | 300 MB | Efficient delivery |
| ProRes 422 | 184 Mbps | 13.80 GB | Professional editing |
| ProRes 4444 | 413 Mbps | 30.98 GB | VFX / compositing |
| DNxHD | 145 Mbps | 10.88 GB | Avid / broadcast |
Why Video File Size Varies So Much
A one-minute video at 1080p can range from 60 MB in H.265 to 22 GB in ProRes 4444 — a 360x difference. Understanding what drives this variation is fundamental to managing storage, choosing codecs, and planning your editing and delivery workflow.
File size = bitrate × duration.That's the complete formula. Bitrate (measured in Mbps, megabits per second) is the amount of data used to represent each second of video. The codec determines the bitrate required to achieve a given quality level. Resolution and frame rate affect the amount of image data that needs to be encoded each second.
Codec Comparison: When to Use Each
H.264 (AVC) — The Universal Delivery Codec
H.264 is the universal delivery codec. Every device, platform, and browser supports it. It achieves good quality at relatively low bitrates (8 Mbps for 1080p), making it ideal for social media uploads, web delivery, and any situation where compatibility is paramount.
The trade-off: H.264 requires more processing to encode and decode than uncompressed formats. Modern hardware handles 1080p H.264 easily, but 4K H.264 can strain older computers during editing. H.264 is a delivery codec, not an editing codec — editing native H.264 footage is less efficient than working with proxy or intermediate formats.
H.265 / HEVC — Efficient Delivery
H.265 achieves roughly the same visual quality as H.264 at half the bitrate. A 4K H.265 file at 17.5 Mbps looks comparable to a 35 Mbps H.264 file. This efficiency matters for storage, streaming, and upload time.
The catch: H.265 requires more CPU/GPU to encode and decode. On older hardware, playback may stutter. Platform support is near-universal in 2026, but some older devices and browsers still struggle. If file size is critical and your audience uses modern hardware, H.265 is increasingly the right choice.
ProRes 422 — The Professional Editing Standard
Apple ProRes 422 is the most common intermediate codec for professional video editing. At 147 Mbps for 1080p, the files are much larger than H.264, but the format is designed for editing — fast scrubbing, efficient decoding, and minimal generation loss when re-encoding.
ProRes 422 supports 4:2:2 chroma subsampling, which preserves more color information than H.264's typical 4:2:0. This is important for green screen work, color grading, and any compositing task. ProRes files are stored in MOV containers and are primarily supported on macOS, though software on Windows can handle them with appropriate codecs installed.
ProRes 4444 — Maximum Quality for Compositing
ProRes 4444 supports 4:4:4 chroma subsampling (full color information) and an optional alpha channel. At 330 Mbps for 1080p, files are enormous. Use ProRes 4444 for:
- VFX and compositing work where full color accuracy is required
- Content that will be color graded extensively
- Archival masters that will be re-encoded many times
- Green screen footage that requires maximum chroma keying quality
ProRes 4444 is not a delivery format. Files are too large for online distribution. It's an intermediate and archival format used at the highest levels of post-production.
DNxHD / DNxHR — Avid's Answer to ProRes
DNxHD (and its 4K successor DNxHR) is Avid's intermediate codec, analogous to ProRes for Avid Media Composer workflows. At 115–220 Mbps for 1080p, it offers efficient editing performance with high quality. DNxHD is used extensively in broadcast and post-production facilities that use Avid.
DNxHD files use the MXF container in professional Avid workflows but can also be wrapped in MOV or MKV for cross-platform use. DaVinci Resolve supports both ProRes and DNxHD natively.
Storage Planning Guide
Use these rough estimates for storage planning when shooting or archiving:
| Format | 1 Hour (1080p30) | 1 Hour (4K30) | 1 TB Holds... |
|---|---|---|---|
| H.264 (8 Mbps) | 3.6 GB | 15.8 GB | ~277 hours 1080p |
| H.265 (4 Mbps) | 1.8 GB | 7.9 GB | ~555 hours 1080p |
| ProRes 422 | 65.9 GB | 265 GB | ~15 hours 1080p |
| ProRes 4444 | 148 GB | 594 GB | ~6.7 hours 1080p |
| DNxHD (145 Mbps) | 65.3 GB | 198 GB | ~15 hours 1080p |
Choosing the Right Codec for Your Workflow
The right codec depends on your workflow stage:
- Camera original / capture: Use whatever your camera records natively (often H.264, H.265, or XAVC). Don't change this.
- Editing / proxy: Transcode to ProRes 422 or DNxHD for smoother editing performance.
- Color grading masters: ProRes 4444 for maximum latitude.
- Final delivery (web): H.264 or H.265 at platform-recommended bitrates.
- Archive masters: ProRes 4444 or lossless formats (FFV1, Lossless H.264).