27 video & audio effects. 13 image effects.

Shifting saturation changes the relative weight of each color channel across every frame. Because the value is randomized per copy, each output file has a distinct color signature, making it visually unique from the source and from the other copies.

Like saturation, contrast changes the brightness distribution across every frame. A randomized per-copy adjustment gives each output file a different tonal balance, adding to its visual uniqueness.

Shifts the overall brightness level of every frame. A small randomized offset per copy changes the tonal profile of each output file, contributing to its visual uniqueness.

Adds a new darkening gradient in the frame border region that did not exist in the source. Because this changes the corners and edges of every frame, it gives each output file a distinct visual signature from the original.

Non-linear tonal changes reshape midtones differently from a flat brightness shift, so a randomized gamma value gives each copy a distinct tonal curve and adds to its visual uniqueness.

A tone curve reshapes the brightness of every frame. Even a 4-point shift in the midtone curve changes the tonal profile of the whole video, so each copy is measurably different from the source with no visible quality change.

A speed change alters the duration, the total frame count, and the timing of every frame relative to the source. A randomized per-copy speed value makes each output file run for a slightly different length with a different frame timing, adding to its uniqueness.

Zoom changes what content sits in every pixel position. The value is randomized per file within the configured range, so each copy has a slightly different field of view, a real geometric difference from the source while keeping the subject centered.

Changes the geometric layout of every pixel in the frame. Even a 1-degree rotation moves every pixel position, making the output measurably different from the source.

Flipping is a structural geometric change that reverses the left-right layout of every frame. On its own it is a mild change, since a mirrored frame can still look similar to the original, it works best as part of a multi-effect combination.

Changing output dimensions affects both the file's byte-level data and the scale of every visual feature in the frame, contributing to each copy's uniqueness.

Varying output dimensions produces different compression artifacts and a different pixel grid for each file. Two files at 1080×1920 and 1084×1928 differ at the pixel level, so each copy comes out unique.

Trimming the start changes which frame opens the video and shifts the timing of every frame that follows, giving each copy a different starting point and overall duration.

Changes the closing boundary of the clip. Combined with Cut Start, each output file has both a different opening and closing point. No two copies trim by exactly the same amount.

Unique per-file noise seeds ensure that two copies of the same source have different grain patterns in every frame. Because the grain also varies frame-to-frame within each file, every copy ends up with a genuinely different pixel-level pattern from the source and from the others.

The slight lateral offset of the color channels creates a subtle chromatic aberration that changes every pixel's color values without affecting the perceived sharpness of the image. This gives each output a different color signature.

Changes the time position of the audio track relative to the video. On its own this is a mild change, since it only shifts the whole track in time. It is most useful as a supplemental effect alongside Spectral Tilt, which alters the audio profile more substantially.

Adds new visual content in the border region that was not present in the source. Because the perimeter of every frame now contains a distinct blurred background, each output looks meaningfully different from the original across the whole frame.

Projective transforms change the geometric layout of every pixel in the frame. Even a 1% corner shift means the pixel at position (100, 100) in the source lands at a slightly different position in the output. This is a genuine geometric change that color and brightness adjustments cannot replicate, so it adds a strong, independent layer of per-copy uniqueness.

Adjusting volume changes the overall amplitude of the audio signal. A randomized per-copy level gives each output file a different audio profile, contributing to its uniqueness.

Pitch shifting changes the frequency of every audio component, giving each copy a subtly different audio profile. On its own it is a mild change, so it is most effective combined with Spectral Tilt and Reverb.

Redistributing energy across the spectrum (boosting high bands, cutting low bands) reshapes the frequency balance of the audio. With randomized gain values per file, each copy ends up with a measurably different audio profile from the source and from the others.

Reverb adds a short decaying reflection after each audio event, changing the time-domain shape of the audio. Combined with Spectral Tilt, it differentiates the audio profile across both frequency and time, adding to each copy's uniqueness.

Different bitrates produce different compression artifacts in the audio stream, changing the byte-level data of the audio. Not a primary uniquification effect, but it contributes to file-level differentiation.

Changing the framerate changes the number of frames in the output file, the timing of each frame, and the file's byte-level data, differentiating each copy at the container and timing level.

Different bitrates produce different compression patterns in the encoded stream, differentiating each copy at the codec output level.

Every file carries container metadata describing the device, location, and capture time. Randomized per-file metadata means each output file carries a distinct, self-consistent set of device details instead of repeating the source file's metadata.

Changes the color channel balance in the image, giving each output a distinct color signature from the source.

Changes the brightness distribution across the image, contributing to each output's visual uniqueness.

Shifts the overall brightness level across all pixels, contributing to each output's visual uniqueness.

Non-linear tonal adjustment reshapes midtones more than a flat brightness change, giving each output a more distinct tonal curve.

Adds a new darkening gradient in the border region of the image that did not exist in the source, changing the corners and edges and adding to the output's visual uniqueness.

Changes the framing and effectively moves every pixel position in the output relative to the source. A strong geometric differentiator.

Changes the geometric orientation of all content, making the output measurably different from the source.

Structural geometric change that affects all pixel positions. Most effective as part of a multi-effect combination.

Removes the border region of the image entirely, changing the composition and what appears at every pixel position in the output.

Changes every pixel's position in the output, making it geometrically different from the source.

Random noise with a unique per-run distribution produces files that look very similar but carry different pixel-level values, making each output unique.

Adds new visual content in the border region of the output image. A strong geometric differentiator because the perimeter of the image is entirely different from the source.

Different compression quality levels produce different encoding artifacts at the pixel level, differentiating each file at the byte level and adding a small amount of visual variation.