Free · runs in your browser
Drop a shaky clip, choose how calm the camera should be, compare before and after, and download a steady copy with the sound kept. Free, with no watermark, and nothing ever leaves your device.
Or choose one from your computer. Phone, action-camera and drone clips all work, in MP4, MOV, WebM, MKV and more.Pick the wobbly clip from your photos or files.
Works with MP4MOVWebMMKVand more
Stabilised on your device. Nothing is uploaded.
Hundreds of points are followed through every frame to measure how the camera really moved, then a new camera path is planned: keep your pans with Smooth, glide between still holds with Cinematic, or pin the shot in place with Locked.
Twelve presets for how it was filmed, plus Zoom limit, Framing, Correction and a Rolling shutter fix. They update the preview at once, in a Split or Side by side view, with the shake reduction measured.
Several processor cores analyse the clip at the same time and your graphics chip redraws every frame, all inside your browser. Nothing is uploaded, there’s no account and the result carries no watermark.
How it works
Drop it on the box marked Drop a shaky video to stabilise, or press Ctrl+O (⌘+O on a Mac) to choose one; on a phone, tap Choose a shaky video. MP4, MOV, WebM and MKV open at once, and AVI, MTS, WMV and other formats are converted on your device first.
Analysis starts by itself (Analysing motion…), and a longer clip is split into parts that are measured in parallel. When it’s done, a preset is marked Suggested if your footage clearly fits one, or you’re told the clip is already steady.
Under How was it filmed?, keep Recommended or pick Walking, Running, Vehicle, Drone, Tripod, Jelly fix or another preset. Adjust Smoothness and Zoom limit if you like; the preview follows every change.
Set View to Split and drag the divider, or choose Side by side; hold B (or press and hold the picture on a phone) for a quick look at the original. The line under Zoom limit (in Adjust on a phone) says how much of the shake was removed and how far the picture zooms in.
Press Export video, choose the Format, Size and Quality in the sheet that opens, leave Keep sound on, and confirm with Export video (Ctrl+Enter or ⌘+Enter). When the file is ready, Download it or Share it from your phone.
Start with the job
What it can do
Start from how the clip was filmed, then change as much or as little as you like. Every control below is in the studio under the same name, and apart from Analysis and Ignore an area, which measure the clip again, every change shows in the preview straight away.
Under the hood
Every stabiliser does three jobs: it measures how the camera moved, decides how it should have moved, and redraws each frame to match. Here all three run on your own device, spread across several processor cores and your graphics chip, and none of it is AI.
Each frame is turned into a small greyscale copy on your graphics chip, and a few hundred well-spread corners are picked out of it: the edge of a window, a stone, a leaf. Every corner is followed into the next frame and then back again, and any that don’t return to where they started are thrown away. A robust fit then finds the one camera movement that most of the picture agrees on, so a car crossing the shot or a person walking past is out-voted by the background, as long as the background fills most of the frame. Cuts between shots are found along the way, and each shot is treated on its own.
Added up, those movements give the path the camera actually took. A solver then finds the calmest path that stays close enough to it for the moving edges never to need more zoom than Zoom limit allows: gentle curves for Smooth, still holds joined by straight glides for Cinematic, and a single fixed position per shot for Locked. The same step works out the zoom for every frame and how far each row of the picture must move to undo a rolling shutter. Planning is quick enough to run again every time you touch a control, so the preview changes as you drag a slider, with no second analysis.
Your graphics chip moves every frame onto the new path, using high-quality sampling to keep detail through the slight zoom, shifting the rows of the picture individually to straighten a rolling shutter, and bending small regions of it when Correction is set to Warp. For the export, the frames are drawn the same way and encoded by your browser’s own video encoder, in several chunks at once where the encoder runs faster that way, then joined into one file, with the sound copied across untouched whenever the format allows.
Guides
Your footage is measured, steadied and saved in your browser, so these answers are about shake, zoom, quality and formats rather than uploads.
Open the clip in the box at the top of this page. The motion is analysed on your device, a preset may be suggested for the way it was filmed, and you can compare the result with the original in Split view before you press Export video. If you’re not sure your clip can be saved, fixing a shaky video explains which kinds of shake come out and which don’t.
Yes. There’s no account, no watermark on the export, no premium tier holding back the stronger settings and no limit we set on length or file size. The only limits are your device’s memory and speed, because your device does the work.
No. The page reads the file from your device, and the analysis, the preview and the export all happen inside your browser tab. There is no server that receives footage, so a private clip stays private.
To cancel the shake, each frame is moved the opposite way, which pulls its edges into view, and most stabilisers hide them by zooming in. Here Zoom limit caps that zoom, Smart zoom zooms only on the rough parts and Full frame doesn’t zoom at all but fills the gaps instead. Stabilising without cropping compares the three.
Yes, that’s exactly what this does. A phone’s own stabilisation works while you film; this works on the finished file, from any phone or camera, however long ago it was shot. The iPhone guide walks through it on a phone.
It comes from a rolling shutter: most phone, drone and action-camera sensors record each frame from top to bottom, so fast movement bends straight lines and makes the picture wobble. Rolling shutter is on Auto in almost every preset, and Jelly fix adds the Warp correction for stubborn wobble. The rolling shutter page explains what can and can’t be undone.
Yes, if the camera was meant to stay still. The Tripod preset sets Camera to Locked, which holds one position for the whole shot and zooms in just enough to hide the drift. It can’t freeze a shot that walks or pans; locked-off shots explains when it works best.
A little, and it’s worth knowing where. Every frame is redrawn, so the picture is encoded again, and any zoom spreads the same detail over more pixels; High under Quality and a modest Zoom limit keep the loss small. The frame size stays as the original, the sound is copied across untouched when the format allows, and HDR or 10-bit clips are saved as standard 8-bit video.
No. Blur from a fast shake is recorded inside each frame, and steadying only moves whole frames, so blurred frames stay soft and can seem to pulse once the movement is gone. Brighter light or a faster shutter speed when filming is the real cure.
No, and it doesn’t pretend to be. It uses classical computer vision: it follows points from frame to frame, fits the camera’s movement to them and solves for a smoother path. No model guesses at your picture, so nothing is invented, apart from any edge fill you choose under Edges.
That depends on the footage, but here is one measure. On our 11 test clips (November 2026), the default settings removed 54% of the camera shake between 1.5 and 15 Hz, against 31% for FFmpeg’s vid.stab at smoothing 30, and left less shake than vid.stab on 10 of the 11; a separate tracker that shares no code with either did the measuring. Clips with strong parallax or little detail gain less. The FFmpeg guide describes the comparison.
MP4, MOV, WebM and MKV open directly, including iPhone HEVC clips wherever your browser can decode them. AVI, MTS, WMV, FLV, MPEG and 3GP are converted on your device first. The steady copy is saved as MP4 or WebM, using whichever of H.264, HEVC, VP9 and AV1 your browser can encode.
It depends on the clip’s length and resolution and on your device. The analysis runs once, in several background workers at the same time, with its progress shown as it goes. After that, changing a setting only plans the camera path again, so the preview updates almost at once. The export uses your graphics chip and your browser’s video encoder, and shows its speed and the time left as it goes. One measured example, from November 2026 in Chromium on an Apple M6 Mac that was busy with other work: a one-minute 1080p phone clip was analysed in about 3.5 seconds and exported as H.264 in about 5.5. A phone or an older computer takes longer.
Yes, in a recent Safari or Chrome, using the phone’s own processor and graphics chip. Short clips suit a phone best; long 4K clips go faster on a computer and can run out of memory on a phone. You can also keep it on your home screen so it opens like an app.
It depends on what you already use. DaVinci Resolve’s free version has a capable stabiliser, Gyroflow is excellent if your camera records gyro data, and FFmpeg’s vid.stab suits batch work; this page needs nothing installed. The comparison of stabilisation software sets them side by side.
Video stabilisation is any way of removing unwanted camera movement. Optical image stabilisation (OIS) moves a lens element or the sensor while you film; electronic stabilisation (EIS) crops and shifts each frame inside the camera; software like this steadies the file afterwards. OIS, EIS and software stabilisation compares the three.