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 field is reused across slider tweaks and, importantly, in the export — the file carries the grain you tuned, not a fresh roll. Click Reshuffle to deliberately roll a new 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.

How big one grain dot is relative to the frame. The slider is measured against the preview, and the readout tells you what that works out to in the exported file — a coarse setting on a 3200px photo is several pixels per dot. Fine reads as a modern stock; chunky reads as deliberate stylisation (Lomo, low-light push). Most film stocks sit between fine and medium.

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.