Film grain. On any photo.

No. Grain noise is generated in your browser; the composite renders to a canvas, and the export comes from the canvas. Your photo never touches our servers — we don't run an image pipeline at all.

Random noise per pixel-block at the size you choose, then composited with the photo via the 'overlay' blend mode. Mono mode uses one random value per channel (B&W texture); chroma mode picks each channel independently (color speckle). The same noise tile is reused across slider tweaks; click Reshuffle to roll a new random pattern.

Mono is the cleaner, more classic film look — what you'd associate with Tri-X, Ilford HP5, or any B&W stock. Chroma is what color film actually looks like at high ISO — three independent grain layers, one per channel — and reads as a more saturated, almost rainbow-speckle texture. Chroma feels modern; mono feels timeless.

Grain size sets the pixel block of each grain dot. 1px is fine, almost invisible at small previews; 4px is chunky, reads as deliberate stylization (Lomo, low-light push). Most film stocks live between 1.5 and 2.5 in this scale.

Yes. Drag grain strength to 0 — vignette and warmth still apply. Useful for 'just darken the corners' edits without the texture, or to combine with the Photo Filters tool's color grading.

Grain compresses well as JPG, the photo has no transparency to preserve, and JPG @ 92% gives small files for social. PNG would double or triple the size with no visible benefit. If you need a larger export, run the result through Image Compressor with a wider quality slider.

Per-frame yes — drop in a frame, apply, export. For full video, this isn't the right tool: video grain wants a coherent moving texture, not a static one. Real video editors handle this directly.