Video File Size Calculator
Estimate a video file's size in MB or GB from its video bitrate, audio bitrate and duration, or work backwards from a target file size to the bitrate you
Video File Size Calculator
Calculator
Adjust values & calculateEnter your values below. Every result is computed in your browser โ no data is sent to any server.
Formula: File Size (MB) = (Video Mbps + Audio Mbps) ร Duration(s) / 8
Worked example โ About 619 MB
Formula
File Size (MB) = (Video Mbps + Audio Mbps) ร Duration(s) / 8
Bitrate determines quality and file size. 1080p YouTube: 8 Mbps. 4K: 35-45 Mbps. Streaming: 3-6 Mbps. Lossless: 100+ Mbps.
Worked Examples
Example 1: 10-minute 1080p upload
Problem:A 10 minute 1080p video is encoded at 8 Mbps with 256 kbps AAC audio. How big is the file?
Solution:Total bitrate = 8 + 0.256 = 8.256 Mbps Duration = 600 s Size = 8.256 x 600 / 8 = 619.2 MB
Result:About 619 MB
Example 2: One hour of 4K at 45 Mbps
Problem:How much space does an hour of 4K footage take at 45 Mbps video plus 192 kbps audio?
Solution:Total bitrate = 45.192 Mbps Size = 45.192 x 3600 / 8 = 20,336 MB = 20.3 GB (decimal, 1 GB = 1000 MB) or 18.9 GiB (binary)
Result:About 20.3 GB per hour
Example 3: Bitrate for a 25 MB upload limit
Problem:A 60 second clip must stay under 25 MB, with 128 kbps audio. What video bitrate can you use?
Solution:Total bitrate = 25 MB x 8 / 60 s = 3.33 Mbps Video bitrate = 3.33 - 0.128 = 3.2 Mbps Encode at about 3.0 Mbps to leave margin for container overhead
Result:Video at about 3.0-3.2 Mbps
Frequently Asked Questions
What bitrate should I use?
1080p YouTube: 8 Mbps. 4K YouTube: 35-45 Mbps. Social media: 3-6 Mbps. Blu-ray: 20-40 Mbps. Streaming optimized: 4-8 Mbps.
What is the difference between constant bitrate (CBR) and variable bitrate (VBR)?
Constant bitrate (CBR) maintains the same bitrate throughout the video, resulting in predictable file sizes โ useful for streaming where consistent data rates matter. Variable bitrate (VBR) allocates more bits to complex scenes (fast motion, high detail) and fewer to simple scenes, producing better quality at equivalent average file sizes. For offline distribution and archival use, VBR is preferred. For live streaming, CBR ensures stable delivery.
How does video codec choice affect file size?
Newer codecs compress video more efficiently. H.265 (HEVC) produces files roughly 50% smaller than H.264 at equal visual quality. AV1 compresses approximately 30% better than H.265. VP9 is comparable to H.265. However, newer codecs require more processing power to encode and decode. For most online video platforms, H.264 remains the safest choice for broad device compatibility, while H.265 is preferred for 4K streaming and storage-sensitive workflows.
How much storage do I need to archive a full day of 4K video?
At 100 Mbps (common for 4K cinema cameras shooting all-intra compressed video), one hour of footage requires approximately 45 GB. A full 8-hour shooting day would require around 360 GB of storage. With proxy-only delivery codecs at 8 Mbps, the same duration compresses to about 29 GB per day. Always budget for 2-3x redundant storage (dual cards, RAID backup) for professional productions where losing footage is not an option.
How do I work backwards from a target file size to a bitrate?
Rearrange the same relationship: total bitrate in megabits per second equals the target size in megabytes times 8, divided by the duration in seconds. To fit a ten-minute piece into 700 MB, that is 700 times 8 divided by 600, about 9.33 Mbps for video and audio combined. Subtract the audio allowance, say 0.256 Mbps for 256 kbps AAC, leaving roughly 9.07 Mbps for the video track, and set that as the target in a two-pass or average-bitrate encode.
Why do file browsers report a smaller size than a bitrate estimate?
Because the two sides use different definitions of a gigabyte. Bitrate arithmetic is decimal: a megabit is 1,000,000 bits and a megabyte 1,000,000 bytes, whereas many file browsers divide by 1,048,576 and 1,073,741,824, the binary values properly called mebibyte and gibibyte. At the gigabyte scale that gap is about 7.4 percent, so a payload of exactly 1,000,000,000 bytes displays as 0.93 GB. Nothing has been lost; only the divisor differs, and the IEC names exist to remove the ambiguity.
How much does the audio track add to the total?
More than most people budget for on long-form content. A 256 kbps AAC stream is 0.256 Mbps, which over an hour is 0.256 times 3600 divided by 8, about 115 MB. Uncompressed 48 kHz 16-bit stereo PCM runs at 1536 kbps and therefore adds roughly 691 MB an hour, six times as much. Multichannel or multi-language deliverables multiply that again, so a feature-length master with several audio tracks can carry gigabytes of sound before the picture is counted.
Why can a constant-quality encode not have its size predicted in advance?
Constant Rate Factor modes in x264 and x265 hold perceptual quality fixed and let the bitrate float, spending whatever a scene demands. A static interview at CRF 20 may settle at a few Mbps while a handheld action sequence at the same CRF climbs many times higher, so the final size is only known once the encode completes. Use CRF when quality is the requirement and storage is flexible, and use two-pass average bitrate when a hard size ceiling has to be met.
How do resolution and frame rate change the bitrate a clip needs?
Bitrate demand tracks pixels per second, but sub-linearly, because compression exploits spatial and temporal redundancy that grows with resolution. Moving from 1080p to 2160p quadruples the pixel count yet in practice needs rather less than four times the bitrate, and doubling frame rate from 30 to 60 usually adds well under 100 percent, since consecutive frames are more similar. Motion and grain in the footage matter as much as either number.
What is the file size difference between an all-intra and a long-GOP codec?
All-intra codecs compress every frame independently, like a sequence of stills, which makes editing frame-accurate and decoding cheap but produces very large files. Long-GOP codecs store occasional keyframes and describe the frames between them as differences, cutting size dramatically on typical footage. For the same visual quality a long-GOP encode is often several times smaller, which is why cameras offer all-intra for grading-heavy work and long-GOP for run-and-gun and delivery.
References
Background & Theory
History
Reviewed for accuracy by Daniel Agrici, Founder & Lead Developer ยท Editorial policy
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