Animation survives
An animated WebP comes back animated with all its frames, instead of collapsing to the first one.
Drop your WebP files, pick a quality or switch to lossless, and download smaller versions. Up to 50 at a time.
Drop WebP files to compress
WebP only · still or animated · up to 50 files · 100 MB each
Drag the divider across the photo. Both sides are the same 1:1 crop: one from the original file, one from the file this tool made from it.


One or fifty, still or animated. Everything runs on your device.
Leave it lossy and set a quality for photos, or turn lossless on for screenshots and flat graphics.
Each file shows its before and after size. Save one directly or take the whole batch as a ZIP.
An animated WebP comes back animated with all its frames, instead of collapsing to the first one.
Queue a whole folder, watch the saving per file, and download everything as a ZIP.
A real mode switch, not a single slider. Lossless keeps every pixel; lossy trades detail you will not see for a much smaller file.
Largest Contentful Paint is usually an image. Dropping the hero WebP from 400 KB to 120 KB moves the number more than most code changes.
Conversion plugins often write WebP at quality 90 or higher by default. Re-encoding lower is free size on every page.
A short product loop can weigh several megabytes. Lower the quality across frames and it stays watchable at a fraction of the size.
Figma and Sketch export at print-grade quality. A UI screenshot for documentation usually wants lossless instead.
When an attachment is a few hundred kilobytes over a hard cap, a single quality step is normally all it takes.
Dozens of shots at the same settings, compressed in one queue, with the totals visible before you commit.
A WebP that came out of a design tool or a CMS plugin is often exported at a quality far higher than a web page needs. Re-encoding at 75 or 80 typically takes a third to two thirds off the file with no visible change on a photo. That is the whole job of this page: same picture, lighter file.
WebP has two separate encoders, and picking the wrong one is the most common reason compression disappoints. The lossy encoder throws away detail your eye is unlikely to notice, which suits photographs. The lossless encoder keeps every pixel exactly and shrinks the file by finding repetition instead, which suits screenshots, flat illustrations, logos and anything with hard edges. Run a screenshot through the lossy encoder and the text edges go fuzzy; run a photo through the lossless encoder and the file often gets bigger.
One honest caveat: if your WebP was already compressed carefully, there may be very little left to take. The queue shows the before and after size for every file, so a small saving is visible rather than hidden. When that happens the file was already doing its job.
Photos want lossy. Start at 80, look at the result, and only go lower if the saving is worth it.
Screenshots, logos and flat illustrations want lossless. Lossy compression puts halos around hard edges and small text.
If the output is barely smaller, the source was already well compressed. That is a real answer, not a failure.
Transparency is safe in both modes. Nothing fills your alpha channel with white.
Need an exact number like 200 KB rather than a quality setting? Use the KB-target tool instead of guessing with the slider.
Drop it here, leave the mode on lossy, and set a quality of about 80. The file is re-encoded on your device and the queue shows the new size next to the original. If the picture is a screenshot or a flat graphic, switch lossless on instead.
Both. WebP is a container with two encoders, and a WebP file can be either. That is why this page offers a mode switch rather than assuming: lossy discards detail to gain size, lossless keeps every pixel and compresses by finding repetition.
Sometimes, but not always. If the file was exported at quality 90 there is usually plenty to take. If it was already saved near 75 you may only gain a few percent, and pushing much lower will start to show. The before and after sizes in the queue tell you which case you are in.
Yes. Animated files are rebuilt frame by frame and written back as animation, so the frame count and timing survive. Most compressors quietly return only the first frame, which is why we call this out.
No. The alpha channel is preserved in both lossy and lossless mode, so a transparent background stays transparent rather than turning white.
Up to 50 per batch, at 100 MB each. They run one after another so a large queue does not exhaust memory, and you can download the finished set as a single ZIP.
Usually yes, by roughly 20 to 30 percent at similar visual quality, and browser support is now broad. If your audience is on current browsers it is worth testing. WebP remains the safer choice for older Safari versions and embedded browsers, and you can re-encode to AVIF from the output format list.
No. Compression runs in the page through WebAssembly, so the image data stays on your device. Several tools that rank for this search do upload and then delete the file hours later; here there is no server step to delete anything from.
The general compressor for JPG, PNG, AVIF and more in one queue.
Convert PNG files to WebP first, then compress them here.
Go the other way when you need a PNG for a tool that cannot read WebP.
Hit an exact file size like 100 KB instead of picking a quality number.
Move between WebP, AVIF, JPG, PNG, HEIC and more.
Drop your files, choose a mode, download the smaller set. Free and nothing to install.