Remove a logo or watermark from video, in your browser

Don’t upload it, drop it here

MP4, MOV, WebM or MKV, anywhere on this page. Mark the watermark, choose how to cover it, and export — decoding and encoding happen in this tab with WebCodecs and canvas.

Or drop a file anywhere on this page

01No upload

Your file is never sent anywhere. Rebuilding downloads a model once, then runs it on your own graphics card.

02No account

No sign-in, no email, no queue, and no watermark on the output.

03Works offline

Once the page and the model are cached, turn off your Wi-Fi and it still runs.

The technique

How logo removal works in a browser

A watermark is not metadata. It is baked into the pixels of every frame, so removing it means decoding the video, changing pixels inside a rectangle, and encoding a new file. Until recently a browser could not do the first and last parts at any useful speed, which is why every "remove watermark online" service asked you to upload.

Decode

A VideoDecoder turns encoded chunks into raw frames, using the same hardware decoder the browser already uses to play video.

Paint

Each frame is drawn to a canvas, where the pixels inside your box are blurred, pixelated, filled or rebuilt.

Encode

A VideoEncoder turns the painted frames back into chunks. No server is in the path, so the clock starts the moment you press the button.

Rebuilding a logo away, and covering one up

Covering a logo is easy and always looks like something was covered. Rebuilding one means working out what was behind it, which is only possible when the clip itself contains the answer — and surprisingly often, it does.

Rebuild

Borrows real frames

If the camera moves at all, whatever sits behind the logo in this frame was in plain view a second earlier. The clip is read once to track that movement and collect those pixels, and they are pasted back. The output is genuine footage, not a guess — which is why it can be invisible.

Un-blend

Solves the mix

A see-through watermark means every pixel is a mixture: part watermark, part picture. The mixture is identical in every frame, so it can be measured across the clip and subtracted. This is the one that works on a locked-off shot, where there is no other angle to borrow from.

Inpaint

Rebuilds from the frame

When neither of the above applies, the hole is filled with patches of matching detail found elsewhere in the same frame. It is a guess, but a structured one: it continues edges and textures instead of averaging them into a grey smear.

Blur

Keeps what moves

Keeps the motion and colour of what is underneath, so it reads as a deliberate edit rather than damage.

Pixelate

Reads as intentional

The conventional signal for "removed on purpose", and it survives re-compression better, because large flat blocks are cheap to encode.

Solid fill

Nothing survives

The only option that guarantees nothing of the original is recoverable.

Draw the box a few pixels larger than the mark itself. Compression spreads a logo’s edges beyond its visible outline, and a box that stops exactly at the outline leaves a faint halo that is more noticeable than the logo was. It also matters more than it sounds for the rebuilding methods: the interpolate filter samples the ring just outside your box, so a box drawn tight against a bright logo hands it that logo’s own glow to smear across the hole.

What the export gives you

This tool re-encodes the whole video, so the output is a new file rather than a patched copy. Re-encoding always costs some quality; the numbers shown when it finishes are the real measured size and duration. The browser export is H.264 MP4 where this browser can encode it and VP9 WebM where it cannot, with the audio re-encoded at 96 kbps. If you need the original container, codec and audio preserved exactly, use FFmpeg instead — it produces the same visual result in one pass and copies the audio through untouched.

Memory is the other real limit. Everything lives in the tab, so a 4K file that a server would stream through in chunks can exhaust the tab’s heap here. In practice, clips up to a few hundred megabytes are comfortable on a modern laptop. If the tab crashes, nothing was lost anywhere except your time — there was no copy on a server to worry about.

Requirements

WebCodecs-capable browser
Chrome, Edge, Opera, recent desktop Firefox
No account
Nothing to sign up for, nothing stored
Memory bound
Very large files are limited by tab memory
Re-encoded export
Browser output is MP4 or WebM, audio re-encoded at 96 kbps

FFmpeg delogo, in depth

Doing it by hand, and doing it well

What delogo actually does — and what it cannot do

Start with the honest part, because most pages on this subject skip it: nothing can recover what was behind a logo. Those pixels were overwritten before you ever received the file. Every tool that claims to “remove” a watermark is really doing one thing — inventing plausible replacement pixels from the ones nearby.

FFmpeg’s delogo filter invents them in a specific, knowable way. For every pixel inside the rectangle you define, it looks at exactly four pixels: the one immediately left of the box on the same row, the one immediately right of it, the one immediately above on the same column, and the one immediately below. It averages those four, weighting each by the inverse of its distance, so near edges count for more than far ones.

That single design decision explains everything about how the filter behaves:

Flat backgrounds vanish perfectly. If all four sampled pixels are the same colour, the average is that colour. A logo over a solid lower-third bar or a clear sky disappears without a trace.
Gradients survive well. A smooth left-to-right or top-to-bottom ramp is exactly what inverse-distance interpolation reconstructs, because the underlying signal really is linear between the edges.
Detail becomes a smear. Four edge pixels cannot describe a face, a brick wall or foliage. You get a soft rectangular patch that reads as damage. This is not a bug in the filter or a setting you have got wrong — it is the ceiling of the method.

The tool above implements the same algorithm, pixel for pixel, which is why the preview is trustworthy: what you see on the frame is what every frame will get.

The four parameters, and the mistake almost everyone makes

The filter takes four integers:

Parameter	Meaning	Measured from
`x`	Left edge of the region	Left edge of the frame, in pixels
`y`	Top edge of the region	Top edge of the frame, in pixels
`w`	Region width	—
`h`	Region height	—

The mistake is scale. These numbers are in source pixel space — the video’s real dimensions. If you measured the logo on a preview that was displayed at 640 pixels wide but the file is actually 1920 wide, every value is out by a factor of three and the filter will blur a rectangle of empty sky in the wrong corner. The tool above derives the numbers from the real frame size, which is the entire reason it is worth using over a ruler and a screenshot.

The origin is the top left, not the bottom left. If your box appears vertically mirrored, that is why.

Make the box slightly larger than the logo

This is the difference between a clean result and an obvious one, and it follows directly from how the filter works. delogo samples the ring of pixels immediately outside your rectangle. Almost every real logo has an anti-aliased or semi-transparent fringe a few pixels wide. If your box edge lands on that fringe, the fringe becomes the source material, and the filter dutifully spreads a ghost of the logo’s own colour across the whole region.

Pad by three to five pixels on every side, more if the logo has a drop shadow or a glow. You lose nothing: the padding region is background, and interpolating background from background is a no-op.

The region cannot touch the frame edge

Because the sampling ring sits one pixel outside the rectangle, a region flush against the frame boundary has nothing to read. FFmpeg requires:

x >= 1
y >= 1
x + w <= width  - 1
y + h <= height - 1

This is not a soft constraint that degrades gracefully. Violate it and FFmpeg refuses the job outright:

[Parsed_delogo_0 @ ...] Logo area is outside of the frame.

A watermark genuinely pinned to the corner is therefore the awkward case. Inset by one pixel and accept that the outermost row of the logo survives as a hairline against the frame border, or crop the frame first and lose that row entirely. The tool above clamps your selection into the legal range automatically, which is why a box you drag right off the edge still produces a valid command.

One further trap on this filter: delogo does not accept the usual iw / in_w constants, and inside a delogo expression w refers to the logo width rather than the frame width. Anchoring a region to the right-hand edge has to be arithmetic you do yourself.

Verify on one frame before committing to the file

Rendering a ten-minute video to discover the box was in the wrong place is a waste of several minutes. Pull a single frame instead:

# Grab the frame at 00:00:05 as a PNG
ffmpeg -ss 5 -i input.mp4 -frames:v 1 before.png

# Same frame, with the filter applied
ffmpeg -ss 5 -i input.mp4 -vf "delogo=x=1640:y=60:w=210:h=74" -frames:v 1 after.png

Open the two side by side. Iterate on the numbers there — it costs a fraction of a second per attempt — and only then run the whole file.

Logos that move, or that are only there some of the time

A broadcast bug that fades in for the first thirty seconds does not need the filter applied to the whole runtime. Every FFmpeg filter accepts enable, which takes a timeline expression:

# Only between 5s and 30s
ffmpeg -i input.mp4 -vf "delogo=x=1640:y=60:w=210:h=74:enable='between(t,5,30)'" -c:a copy out.mp4

# Two logos at once: chain the filters
ffmpeg -i input.mp4 -vf "delogo=x=40:y=40:w=180:h=60,delogo=x=1640:y=960:w=210:h=74" -c:a copy out.mp4

A logo that genuinely travels around the frame is beyond a single static rectangle. That is the problem multi-delogo exists to solve — it lets you keyframe the region over time — and it is the right tool if the watermark moves.

Whether to do this in the browser or in FFmpeg

	This page	FFmpeg locally
Setup	None	Install FFmpeg
Finding coordinates	Drag a box; numbers derived for you	Manual, from a screenshot
Preview before rendering	Live, per frame	Render a test frame each time
Blur and pixelate modes	Built in	A much longer filtergraph
Batch a whole folder	No	Yes — a shell loop
Moving logos, keyframed regions	No	Yes, with `multi-delogo`
Very long or very large files	Bounded by tab memory	Unbounded
File leaves your machine	Never	Never

For one clip, dragging a box is faster than measuring one. For forty clips with the same overlay in the same position, take the command this page generates and put it in a loop:

for f in *.mp4; do
  ffmpeg -i "$f" -vf "delogo=x=1640:y=60:w=210:h=74" -c:a copy "clean/$f"
done

The quality cost nobody mentions

Applying any filter means decoding and re-encoding the video, so you pay one generation of compression loss across the entire picture — not just inside the box. The audio does not need to suffer: -c:a copy passes the original audio stream through untouched, which is why it is in every command above.

If the source is already heavily compressed, encode the output generously. Starving a re-encode to save a few megabytes adds blocking artefacts that are far more visible than the patch you were trying to hide. If size is the actual constraint, solve that deliberately with a target-size pass rather than by guessing at a quality setting.

One thing worth saying plainly

This is built for footage you own or are licensed to edit — your own superseded branding, a station bug on your own recording, a client’s old logo on archive material you are refreshing. Stripping someone else’s watermark from content you have no rights to is copyright infringement, and a filter that averages four pixels does not change that.

Questions

Is my video really not uploaded?

Yes. The page makes no network request after it loads. The file is read with the File API, decoded by the browser’s own video pipeline, and written back out as a Blob in memory. You can confirm it in the network tab, or by disconnecting from the internet before you start.

Which browsers work?

Chrome and Edge 94+, Opera, and recent desktop Firefox. Safari supports WebCodecs from 16.4 but its canvas encoding path is inconsistent, so results vary. Mobile browsers can decode but often run out of memory on long or high-resolution clips.

Is the output MP4 or WebM?

MP4 with H.264 wherever this browser has an H.264 encoder, and WebM with VP9 where it does not. Audio is kept and re-encoded at 96 kbps. If you need the original audio copied through untouched, use the FFmpeg command above.

Can it actually remove a watermark, or does it just blur it?

It can genuinely remove one, and how well depends on the footage rather than on the setting you pick. If the camera moves at all, whatever was behind the logo is visible in nearby frames, so those real pixels are put back and the result is indistinguishable. If the watermark is see-through, the amount it is mixed into each pixel is measured across the clip and subtracted, which also restores the true picture. Only when the camera is locked off and the logo is solid is there nothing to recover — then the area is rebuilt from matching detail elsewhere in the same frame, which is a good guess rather than the original.

Can I remove more than one thing at once?

Yes. Draw as many boxes as you need — a corner logo, a handle burned into the lower third, a caption — and each one gets its own method. They are all cleared in a single pass, so the video is re-encoded once instead of once per box, which matters because every re-encode costs a little quality.

Can it follow a logo that moves?

Not yet. Each box is fixed for the whole clip. Moving watermarks and per-scene changes need keyframed boxes, which is the next thing on the list for this tool.

How large a file can I process?

The limit is your tab’s memory, not a plan tier. A few hundred megabytes is comfortable on a modern laptop; multi-gigabyte 4K files will usually exhaust the heap. Nothing is queued or throttled.

Is it free, and what is the catch?

Free, no account, no watermark, no limit on how many files you run. The tools cost us almost nothing to host because your computer does the work. The paid product is a Chrome extension for agencies, which is a different job entirely.

Start processing

Drop a clip in and mark the watermark. It runs on this machine, at this machine’s speed.