A container is not a codec, and a smaller file is not automatically easier to edit. MP4, MOV and MKV can carry different video and audio codecs. H.264 and H.265 are delivery codecs; ProRes is designed for editing; AV1 is efficient but depends on hardware and software support.
FAST-VID offers MP4 video, MP3 audio and conditional M4A for supported public links. It is not an editor, does not offer MOV, MKV or ProRes output, and does not expose arbitrary codec settings.
Containers: MP4, MOV and MKV
MP4 is widely supported by browsers, phones and editors. It can hold H.264, H.265, AV1 and other codecs, but support depends on the specific combination and the tool.
MOV is an Apple-origin container widely used in professional editing. It can carry ProRes, H.264 and other codecs. A MOV file with ProRes is a very different editing experience from a MOV file with a compressed delivery codec.
MKV is a flexible container common for archived or downloaded media. It can hold many tracks and codecs, but some editors, phones and hardware players handle it less consistently than MP4 or MOV.
The extension tells you about the container, not the bitrate, codec or editing performance. Inspect the streams before assuming a file is edit-friendly.
Codecs at a conceptual level
H.264/AVC is broadly supported and often hardware-decoded. It is a practical delivery format and can be edited, though long-GOP compression can make seeking less responsive than an intra-frame editing codec.
H.265/HEVC compresses more efficiently but needs more decoding support. Older editors or computers may struggle, especially with 4K or 10-bit material.
AV1 is a newer efficient codec with growing support. Hardware decoding is not universal, and encoder/editor support varies. It can be excellent for delivery but is not automatically the easiest source for editing.
ProRes is an Apple editing codec family designed for high-quality intermediate workflows. Files are much larger than delivery H.264, but they are generally easier to decode and scrub. ProRes is not a universal export target for every editor or device.
Editing performance and file size
Editing performance depends on decode complexity, resolution, frame rate, bit depth, chroma subsampling, storage speed and the editor’s cache. A highly compressed 4K file can be harder to scrub than a larger intermediate file, even though it is smaller on disk.
Proxy workflows create lower-resolution or edit-friendly versions for cutting while preserving the original for final output. The proxy is not the final master; it is a temporary editing aid. Relinking the original at export is a separate step.
More storage and faster drives can help, but they do not fix an unsupported codec or a CPU/GPU bottleneck. Use the editor’s recommended media workflow rather than assuming that one format is fastest everywhere.
Re-encoding and quality
Every lossy re-encode can discard additional detail. Converting a delivery H.264 file to ProRes can make editing smoother, but it does not restore quality lost in the original compression and it makes the file much larger.
Converting a lightly compressed source to a smaller delivery codec is a normal finishing step, but repeated conversions are best avoided. Keep the best source you have and make a separate delivery copy.
Stream copy can change the container without re-encoding, but it cannot fix an incompatible codec or make a long-GOP file into intra-frame media. Container conversion and codec conversion are different operations.
A practical selection guide
| Goal | Reasonable starting point | Trade-off |
|---|---|---|
| General editing compatibility | MP4 with H.264/AAC | Widely supported; not the lightest to scrub |
| Professional Apple workflow | MOV with ProRes | Large files; strong editing performance |
| Efficient 4K delivery | H.265/HEVC or AV1 | Decode and editor support vary |
| Archive or multiple tracks | MKV or a suitable mezzanine | Player/editor support varies |
| FAST-VID output | MP4, MP3, conditional M4A | No MOV, MKV, ProRes or arbitrary codec choice |
Match the source to the edit, not to a slogan. A short social clip and a feature-length project have different storage, proxy and delivery needs.
What FAST-VID can and cannot provide
FAST-VID offers MP4 video for supported public links, along with MP3 audio and source-dependent M4A. It does not offer MOV, MKV, ProRes, FLAC or arbitrary codec conversion, and it does not expose bitrate, sample-rate or channel controls.
If your editor needs a specific intermediate, convert a verified source with an editing tool. A downloader is not a proxy generator, color-managed finishing tool or codec converter.
FAST-VID also does not support private, live or DRM-protected sources. Use content you own or are authorized to edit.
A practical pre-edit checklist
Inspect the codec, resolution, frame rate and audio layout before importing. Test a short segment for playback and sync. Confirm that the editor supports the file natively or can create proxies without changing the final output.
Keep the original separate from proxies and exports. Name versions clearly and record the settings used for the final delivery. If a file is difficult to edit, create a proxy rather than repeatedly re-encoding the only copy.
For delivery, follow the destination platform’s current recommendations rather than assuming that the editing format is also the best upload format.
A practical editing workflow
Inspect the source before importing, then decide whether it needs a proxy. Keep the original untouched, edit from proxies or an intermediate if needed, and relink the original for final output.
Export a delivery copy separately from the editing master. Do not use the delivery export as the only archive; it has already been compressed for a destination. Keep the project file and the original source so a future export can start cleanly. A proxy is disposable; the original source is what preserves your options. If the editor cannot decode the source, fix the workflow rather than repeatedly converting the only copy. Plan the workflow before the edit fully begins.
Frequently asked questions
Is MP4 good for editing?
It can be, especially with H.264, but editing performance depends on the codec, resolution, frame rate and editor. An intermediate or proxy may be easier to scrub.
Is ProRes always better than H.264?
ProRes is designed for editing and is generally easier to decode, but files are much larger. It cannot restore quality already lost in a compressed source.
What is a proxy?
A lower-resolution or edit-friendly copy used for cutting. The original remains the master and is relinked for final output.
Does converting to ProRes improve quality?
No. It can make editing smoother, but it does not restore detail lost in the original compression.
Does FAST-VID output MOV, MKV or ProRes?
No. FAST-VID offers MP4 video, MP3 audio and conditional M4A for supported public links.
Sources and references
- Apple: Apple ProRes white paper
- FFmpeg documentation
- MDN: Media containers
- yt-dlp: Format selection
- FAST-VID: MP4 vs MP3
Try FAST-VID
Open the FAST-VID downloader for a supported public link. Use an editor for proxies, MOV/MKV, ProRes or codec conversion; FAST-VID does not provide those outputs.