MOV is Apple's QuickTime container, used for everything from casual iPhone videos to ProRes-encoded cinema footage. We extract the audio track and transcribe it, regardless of file size or video codec.
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MOV is the QuickTime container format, and it covers an enormous range. An iPhone selfie video is MOV. A RED or Blackmagic cinema camera shooting ProRes is MOV. An Avid export with SMPTE timecode is MOV. The files can range from 10 MB to 200 GB. What matters for transcription is the audio track inside — and that audio track is usually AAC or PCM regardless of whether the video is H.264, HEVC, or ProRes. We extract just the audio, so even massive ProRes files process quickly.
Drag and drop any MOV file. We parse the QuickTime container to locate the audio track — the video track is never decoded.
We extract the audio track from the QuickTime container and run speech recognition. For MOV files with SMPTE timecode tracks, the original timecode is preserved in timestamp references.
Edit the transcript in the browser and export in your preferred format. SRT and VTT exports sync to the video's timeline for direct use in editing.
ProRes MOV files are enormous because of their video codec — a single hour of ProRes 422 HQ at 1080p is about 80 GB. But the audio track in that file is typically 16-bit/48kHz PCM, only about 330 MB per hour of mono audio. We extract just the audio, so transcription doesn't require uploading or processing the full video file.
iPhone 15 Pro and later can shoot ProRes video. Many people assume ProRes also means better audio — it doesn't. The audio codec and quality are identical whether you shoot in standard H.265 or ProRes mode. The microphone hardware is the same, and the audio encoding doesn't change. Transcription results will be identical for both.
Professional MOV files from cinema cameras and broadcast equipment often include SMPTE timecode tracks. When present, we reference the original timecode for timestamps, so your transcript aligns with the production timecode used in post-production, not just the wall-clock duration.
Audio quality in MOV files varies enormously by source. iPhone recordings benefit from computational audio processing. DSLR and mirrorless cameras often have mediocre built-in microphones. Cinema cameras are typically paired with external audio recorders. We handle this full range of audio quality and tailor processing accordingly.
Documentary filmmakers and video producers can generate transcripts from MOV interview footage before editing begins. Use the transcript to find specific quotes and plan your edit, rather than scrubbing through hours of raw footage.
iPhones save video as MOV by default (unless you change to High Efficiency). Upload your iPhone videos directly — screen recordings, camera footage, or FaceTime recordings — without converting to MP4.
Final Cut Pro works natively with MOV. Generate SRT or VTT files from your MOV footage and import them as caption tracks directly into your Final Cut timeline.
Film productions generate hundreds of hours of MOV dailies. Transcribe interview setups, dialogue takes, and spoken slate information into a searchable index that the editing team can reference.
Transcribe interview footage from cinema cameras and DSLRs shooting MOV. Find quotes and plan edits using the transcript instead of reviewing hours of video manually.
Generate subtitle files from MOV footage for your timeline. MOV is Final Cut's native format, so the workflow is seamless — transcribe, export SRT, import into your project.
Transcribe MOV videos from your iPhone camera and screen recorder. No need to convert to MP4 — the MOV file works directly.
Convert MOV footage from field cameras and studio recordings into text for scripts, captions, and archival. SMPTE timecode references help match transcripts to production timelines.
The upload limit is 500 MB, and ProRes files are almost entirely video data. Extract just the audio track with FFmpeg ('ffmpeg -i footage.mov -vn -acodec copy audio.m4a' or 'ffmpeg -i footage.mov -vn audio.wav') and upload that much smaller audio file. The transcription result will be identical since we only use the audio anyway.
No. ProRes on iPhone affects only the video codec — the audio recording is identical between ProRes and standard H.265 mode. The same microphones capture the same audio signal, encoded the same way. You'll get identical transcripts from both formats.
Significantly. The audio track quality depends entirely on the microphone and recording setup, not the video format. An iPhone with its computational audio processing often produces cleaner speech audio than a DSLR with a built-in microphone. A cinema camera with a boom mic and external recorder will typically produce the best results. The video codec is irrelevant.
Yes. MOV files from professional cameras and broadcast equipment often include SMPTE timecode tracks (e.g., starting at 01:00:00:00). When we detect a timecode track, we reference it for timestamps. SRT and VTT exports will use the production timecode, which helps when matching transcripts to NLE timelines.
Mac screen recordings capture system audio and microphone audio in the same track. Our speech model focuses on human voice and filters out notification sounds, UI clicks, and background music. For best results, keep the microphone level higher than the system audio level in your recording.
Practically none. MOV (QuickTime) and MP4 (MPEG-4 Part 14) are closely related container formats that can hold the same audio and video codecs. The audio track inside is typically identical. Transcription results between an MOV and an MP4 containing the same audio will be identical. Use whichever format your camera or device outputs — there's no need to convert.
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