-prefix-free lets you use only unprefixed CSS properties everywhere. It works behind the scenes, adding the current browser’s prefix to any CSS code, only when it’s needed.
“[-prefix-free is] fantastic, top-notch work! Thank you for creating and sharing it.”
— Eric Meyer
<link> or <style> elements and adds a vendor prefix where neededstyle attribute and adds a vendor prefix where needed<link> or <style> elements, style attribute changes and CSSOM changes (requires plugin).css() method get and set unprefixed properties (requires plugin)@import-ed files is not supportedstyle attribute) won’t work in IE and Firefox < 3.6. Properties as well in Firefox < 3.6.Check this page’s stylesheet ;-)
You can also visit the Test Drive page, type in any code you want and check out how it would get prefixed for the current browser.
Just include prefixfree.js anywhere in your page. It is recommended to put it right after the stylesheets, to minimize FOUC
That’s it, you’re done!
The target browser support is IE9+, Opera 10+, Firefox 3.5+, Safari 4+ and Chrome on desktop and Mobile Safari, Android browser, Chrome and Opera Mobile on mobile.
If it doesn’t work in any of those, it’s a bug so please report it. Just before you do, please make sure that it’s not because the browser doesn’t support a CSS3 feature at all, even with a prefix.
In older browsers like IE8, nothing will break, just properties won’t get prefixed. Which wouldn’t be useful anyway as IE8 doesn’t support much CSS3 ;)
Test the prefixing that -prefix-free would do for this browser, by writing some CSS below:
"You will. Go."
This creates a paradox. The illegal "tasuta" ecosystem often functions as a de facto national film archive. Films that are not commercially viable—documentaries about 1990s collectivization, obscure children’s films from 1982—are kept alive on obscure file-hosting sites. A teenager in 2024 can discover a 1970s Estonian animation because someone, somewhere, decided to upload it for free. The state’s legal offerings, while improving, are often limited by licensing restrictions (especially for music rights) or by the sheer cost of digitization. Thus, the pirate becomes the preservationist, and "tasuta" becomes the last refuge of the forgotten film.
Märt took the tape. It felt heavy, real. "There's a machine?"
The desire for free content is universal, but in Estonia, it carries a specific patriotic charge. Estonians are justifiably proud of their film heritage, from the wartime dramas of the Soviet era to the international arthouse success of films like November (2017) or The Fencer (2015). However, living in a small language market means that Estonian films are rarely blockbusters. A local film’s entire theatrical run might be measured in weeks, not months, and its DVD run is tiny. Consequently, for many Estonians living abroad (e.g., in the U.S., Australia, or across Europe), or even for those in rural Estonia with limited access to arthouse cinemas, the only way to see their nation’s stories is online.
> THE PRICE IS MEMORY. > SELECT YOUR FILM.
"You will. Go."
This creates a paradox. The illegal "tasuta" ecosystem often functions as a de facto national film archive. Films that are not commercially viable—documentaries about 1990s collectivization, obscure children’s films from 1982—are kept alive on obscure file-hosting sites. A teenager in 2024 can discover a 1970s Estonian animation because someone, somewhere, decided to upload it for free. The state’s legal offerings, while improving, are often limited by licensing restrictions (especially for music rights) or by the sheer cost of digitization. Thus, the pirate becomes the preservationist, and "tasuta" becomes the last refuge of the forgotten film. tasuta eesti filmid
Märt took the tape. It felt heavy, real. "There's a machine?" "You will
The desire for free content is universal, but in Estonia, it carries a specific patriotic charge. Estonians are justifiably proud of their film heritage, from the wartime dramas of the Soviet era to the international arthouse success of films like November (2017) or The Fencer (2015). However, living in a small language market means that Estonian films are rarely blockbusters. A local film’s entire theatrical run might be measured in weeks, not months, and its DVD run is tiny. Consequently, for many Estonians living abroad (e.g., in the U.S., Australia, or across Europe), or even for those in rural Estonia with limited access to arthouse cinemas, the only way to see their nation’s stories is online. Thus, the pirate becomes the preservationist, and "tasuta"
> THE PRICE IS MEMORY. > SELECT YOUR FILM.