Whether you are exporting a short social media clip to meet a strict 25 MB email limit, configuring OBS for a smooth 1080p 60fps Twitch stream, or calculating how many hours of 4K footage will fit on a 128 GB memory card, the relationship between resolution, frame rate, bitrate, and codec efficiency governs everything. This calculator provides a unified workspace for all four sides of video data planning.

File size is simply bitrate times duration

Every digital video file's physical size is governed by one formula: data rate multiplied by time. Add your audio track's bitrate to your video bitrate (converting both to Mbps), multiply by duration in seconds, and divide by 8 to convert megabits to megabytes. The math is universal across all containers—whether MP4, MOV, MKV, or WebM—because the file wrapper does not alter the underlying compressed stream.

Bits-Per-Pixel: the true measure of compression quality

A common mistake among video editors is assuming an 8 Mbps bitrate means the same quality across all projects. An 8 Mbps bitrate looks pristine on a 720p 24fps interview, but heavily pixelated on a 4K 60fps sports sequence. Bits-Per-Pixel (bpp) normalizes data allocation across pixel volume and temporal frequency. Aim for 0.07 to 0.10 bpp for web streaming, and 0.10 to 0.18 bpp for high-fidelity master uploads to YouTube and Vimeo.

Solving backward from upload caps

Strict upload limits are a reality of modern workflows—whether a 10 MB Discord free-tier cap, a 16 MB WhatsApp limit, or a 25 MB email attachment threshold. Instead of test-rendering repeatedly to guess the file size, the Target Size Solver inverts the formula to calculate the exact maximum video bitrate your export can afford after accounting for audio.

Delivery codecs vs. production codecs: H.264, HEVC, AV1, and ProRes

Different codecs serve fundamentally different purposes in the pipeline. H.264 remains the universal standard for compatibility. H.265 (HEVC) and VP9 halve required bitrates for equivalent fidelity, and AV1 pushes efficiency even further. Conversely, production codecs like Apple ProRes 422 compress frames independently (intra-frame) to ensure zero editing latency and maximum color grading flexibility, resulting in file sizes 4 to 6 times larger than delivery formats.

Planning storage for camera cards and live streams

Camera operators and live streamers need to know when storage will deplete before pressing record. By calculating data throughput per hour against usable card volume (reserving a 5% to 10% safety margin for filesystem overhead), you can accurately forecast your card requirements for multi-camera productions and prevent unexpected recording dropouts.