Convert AVIF to PNG

• Stores the decoded frame losslessly, at the width and height the AVIF recorded.
• Copies the alpha channel across as the decoder produced it, so a cut-out stays a cut-out.
• Writes 8-bit sRGB samples, which is where a 10- or 12-bit source lands after the browser reads it.

• No quality figure is applied, because a lossless encoder has nothing for one to change.
• The frame is not scaled or trimmed on the way through, so the pixel count is unchanged.
• Nothing the container held around the picture survives: capture fields, XMP, the profile, the print resolution.

1. Add the .avif. Drop it on the panel above or press Browse files. The pair is fixed at AVIF to PNG, so there is no format menu to get wrong and nothing else is accepted.
2. Run it. Nothing needs setting first, because a lossless format has no quality to choose. Your browser decodes the picture and the encoder stores every sample it produced.
3. Download it, then look through it. Put the download over a dark background if the transparency is the point. A white rectangle where you expected nothing means the source was already flattened, and that happened before the file ever reached you.

For an ordinary photograph it usually is not, and the JPG route will be both lighter and more widely accepted. Three situations change the answer.

• The background is see-through and has to stay that way. If the picture is a logo, an app icon, a sticker or a cut-out, PNG is the output that carries its alpha channel through without composing anything behind it.
• A run of edits is coming. One decode now, with nothing thrown away, beats re-saving a lossy file until the artefacts stack up on top of each other.
• Something downstream has named PNG and will not negotiate — a design tool, an asset pipeline, a form written before either format existed. That decision was made somewhere out of reach, and matching it is the whole job.

Both formats carry an alpha channel, so the one the decoder produced is written straight into the result. Nothing is composed behind it and nothing is filled in, and a soft edge stays soft instead of turning into a hard fringe against a colour it was never sitting on.

What this page cannot do is invent the channel. If the source was flattened onto white by whatever produced it, the download holds a white rectangle, because that information is gone from the file rather than hidden inside it. Removing a background is retouching: it needs an editor with a selection tool, and changing the container around the pixels will never do it for you.

The opposite journey — a transparent picture that has to become a JPEG — means choosing a colour for it to sit on, which the AVIF to JPG page does with a control beside its button.

The encoding step loses nothing. What it is faithful to, though, is the output of your browser's decoder rather than the contents of the file — and those two are not always the same thing.

• A source may store 10 or 12 bits a channel. The decode returns 8, so a long smooth gradient can band very slightly, and the download then records that banding perfectly.
• A picture tagged with a PQ or HLG transfer curve is brought back to ordinary range by the browser before this page is handed a single pixel, so the download looks like the picture on an ordinary screen rather than like the high-range master. On an HDR screen, the original may have looked brighter than the download.
• A wide-gamut or profile-tagged source is converted to sRGB on the way in, and no profile is written into the download. The colours are the converted ones, which is what an ordinary screen would have shown you regardless.

The two formats are built for opposite goals: one makes pictures small, the other makes them exact. Converting between them undoes the first goal entirely. Photographic detail and sensor grain are close to random, they barely shrink under lossless compression, and the download routinely lands at many times the weight of the file that went in. Writing it takes real work too, and a few seconds of an apparently idle tab on an older phone is the tab compressing rather than stalling.

Where a ceiling on file size exists, this is the wrong output and no control on the page changes that. Take the JPG, or put the result through the compressor — which, given something lossless, can only rewrite it as WebP or hand back fewer pixels.

• One file per run, up to 20 MB. A folder of them can go through the bulk converter instead, which reads AVIF and writes JPEG, PNG or WebP.
• There is no quality or compression control, because a lossless encoder has nothing to expose.
• How large a picture goes through is a question about your device rather than a policy: a full decode followed by a lossless encode needs room for several copies of the frame at once, and a phone short of free memory is told the job will not fit before anything is allocated.
• An animated AVIF is turned away before decoding, and no page here exports the frames of one.
• Reading the file at all needs a browser with AVIF support of its own, because this site ships no decoder for it.