Add Video Watermark Online

Load a video, choose a text or logo watermark, place it on the frame, then export and download. Everything runs on your device.

1. 1

   Load your video

   Drop in an MP4, MOV, WebM or MKV file. It is read on your device — nothing is uploaded, and the tool opens the container itself rather than relying on what your browser can play.

2. 2

   Choose text or a logo

   Type the text you want, or pick a PNG, JPEG, WebP or SVG. A PNG with a transparent background is the usual choice for a logo; text gets an outline so it stays readable over bright and dark footage alike.

3. 3

   Place it on the frame

   Drag the watermark, resize it from the corners, or tap one of the nine position presets and set how far in from the edge it sits. Rotate it to any angle for a diagonal mark.

4. 4

   Tune opacity, tiling and timing

   Set the opacity, and — on Pro — repeat the mark across the frame as a grid, or show it only between two timestamps with a fade in and out.

5. 5

   Export and download

   Pick MP4, WebM or MOV and run it. Your clip keeps its original resolution and its original bitrate, and the finished file downloads straight from your device.

A watermark is the cheapest form of attribution there is. It travels with the pixels, it survives a re-upload, a screen recording and a repost, and it keeps working when the caption, the description and the file name have all been stripped away. For a preview sent to a client, a clip posted to a feed that strips metadata, or a review copy of licensed footage, a visible mark is the only claim of ownership that reliably arrives with the video.

Overlay a text or image watermark with adjustable position and opacity.

Opens MP4, MOV, WebM and MKV. Exports MP4, WebM or MOV at your source's own resolution and bitrate.

What a watermark actually buys you

• Attribution that survives sharing: Captions and metadata are discarded by almost every platform on re-upload. Pixels are not.
• Deterrence, not prevention: A visible mark makes casual reuse obviously deliberate, which is usually enough.
• Brand presence: A corner logo puts your name in every frame of a clip that gets embedded somewhere you did not choose.
• Draft signalling: A large diagonal mark makes it unmistakable that a cut is not final, which stops the wrong version going out.
• No forced badge of ours: The file you download carries your watermark and nothing else — we never stamp our own name onto your export.
• Runs on your device, not our servers: Your footage is read, composited and encoded locally, so there is no upload, no queue and no copy of your video on anyone's server.

The two kinds solve different problems, and this tool treats them as the same thing internally — a rectangle of pixels drawn over each frame — so every placement, opacity, rotation, tiling and timing control works identically on both. On Pro you can stack up to four, which is how a logo in one corner and a handle in the other end up on the same clip.

Text: readable over anything

• Type any string, pick a font, a weight and a colour, and it is rendered once at export resolution rather than scaled up from a small preview.
• The outline is the control that matters most. White text vanishes over snow, sky, a bright product shot or a whiteboard; a dark outline keeps it legible over all of them, and the same outline in white keeps dark text legible over a night scene.
• A soft drop shadow is available as well, which reads better than an outline over busy footage where a hard edge looks pasted on.
• Text is the right choice for a URL, a handle, a copyright line, a client name, or a big diagonal DRAFT.

Logo: your actual mark

• PNG, JPEG, WebP, GIF, AVIF and SVG all work. A PNG or SVG with a transparent background is what you want for a logo — a JPEG will bring a solid rectangle with it.
• Fit is the default and keeps your logo's proportions inside whatever box you drag. Stretch fills the box exactly and will distort the artwork, which is occasionally what you want and usually not.
• Transparency is preserved through the opacity slider: lowering opacity fades the logo itself rather than fading up the transparent area around it.
• Keep the source artwork larger than the size you will use it at. A 200-pixel logo blown up to fill a 4K frame will look soft no matter what the encoder does.

A single corner watermark has one weakness, and everybody who wants to remove one knows it: crop the corner off. A tiled watermark repeats the mark in a grid across the entire frame, so there is no crop that removes every copy without also removing most of the picture. It is the standard approach for screener copies, unreleased footage and anything sent outside a trusted circle.

When tiling is worth it

• Review copies and screeners going to people you do not control.
• Stock or licensed footage sent for evaluation before payment.
• Course material, webinars and paid recordings that get passed around.
• Any clip where a crop-and-repost is a realistic outcome rather than a theoretical one.

Setting a grid that stays readable

• Grids run from 1×1 up to 8×8, and the maximum tracks your watermark's own size — the tool will not offer you a grid so dense that each copy becomes an unreadable smudge.
• Lower the opacity as you raise the count. Nine copies at 85% is a wall; nine copies at 20% is still unambiguous and leaves the footage watchable.
• Rotate the mark 30–45° before tiling. A diagonal grid is markedly harder to paint out than an axis-aligned one, and it reads as deliberate rather than accidental.
• Tiling is a Pro feature. A single placed watermark, at any size, angle and opacity, is free.

A watermark does not have to be on for the whole clip. Restricting it to a window — and fading it in and out rather than snapping — is the difference between a mark that looks like part of the production and one that looks like it was added afterwards.

Windows worth using

• Opening bug: The first five seconds, faded in and out, which is what broadcast does.
• End card: The last few seconds, so the mark is on screen exactly when someone is deciding whether to follow you.
• Periodic: A short window over a section you specifically want attributed.
• Full clip: The default, and the right answer for a screener or a client preview.

How the fades behave

• Fade in and fade out are set in seconds and apply at the two ends of the window you chose, not at the ends of the clip.
• A fade longer than half its own window is clamped, so a mark always reaches the opacity you set instead of peaking somewhere below it.
• Outside the window nothing is drawn at all — the watermark is genuinely absent from those frames rather than drawn fully transparent.
• The scrubber under the preview moves through the clip so you can see the window and the fades before committing to an export.

Your video is opened on your device, decoded frame by frame, composited with your watermark, and encoded into a new file. Nothing is uploaded, there is no queue, and there is no server-side step to wait for. The preview you drag on is produced by exactly the same compositor as the export, at a smaller size — so what you see on the frame is what lands in the file.

Workflow

• Load: The container is parsed on your device and its real dimensions, rotation flag and bitrate are read from the file itself.
• Compose: Text is rendered, or your logo is decoded, and placed in a rectangle you control.
• Preview: A decoded frame is composited live as you drag, scrub and adjust.
• Encode: Every frame is composited and re-encoded at your source's own resolution and bitrate.
• Download: The finished file is written locally and saved straight from your device.

Adding a watermark means re-encoding, because the pixels of every frame genuinely change. What matters is how much of your original quality survives that, and the answer comes down to one number: the bitrate the new file is given.

Your original bitrate is preserved

• The tool reads the real bitrate your source actually spends, from its packets rather than from file size divided by duration, and targets that same rate on the way out.
• That matters because the usual shortcut — asking the encoder for a quality preset — derives a number from resolution and frame rate alone and never looks at the source. On a 25 Mbps clip that lands around 6 Mbps, throwing away three quarters of the picture on a job that only drew a logo in the corner.
• Re-encoding cannot add information, so spending more bits than the source contains buys nothing either. Matching it is the honest target in both directions.
• Your resolution is never reduced. A 4K clip comes back 4K, on the free plan as well as on Pro.

Choosing an output format

• MP4: H.264 in an MP4 container. The right default — it plays everywhere, and every platform accepts it.
• MOV: The same video in a QuickTime container, which is what Final Cut and some camera workflows expect.
• WebM: VP9 or VP8, for the web. Smaller at the same quality, but not accepted by every editor or social platform.
• Audio: Your soundtrack is carried through untouched wherever the output container can hold it — a watermark has no business re-encoding audio it never looked at.

Useful context before you export, and a few things that are commonly assumed and untrue.

Key points

• A watermark applied here is burned into the pixels. Removing it cleanly afterwards needs the unmarked original — keep one.
• PNG and SVG with alpha keep their transparency; a JPEG will always bring a solid rectangle with it.
• Processing time scales with duration and resolution, not with file size. A ten-second 1080p clip takes a few seconds on a normal laptop.
• Your clip's rotation flag is honoured, so a video shot on a phone in portrait is watermarked the way it is actually watched, not the way it is stored.
• Free handles one video at a time, up to 200 MB and five minutes. Pro watermarks a whole batch and downloads them as a single archive.
• There is no watermark of ours on anything you export, on either plan.

Guidelines that make the difference between a mark that works and one that just gets in the way.

Placement and legibility

• Keep the mark clear of faces, captions and any on-screen text — a watermark that covers the content defeats the clip.
• Mind the safe area. Most platforms overlay their own interface along the bottom and the right edge of a vertical video, so a bottom-right mark can end up under a like button.
• Somewhere between 15% and 30% opacity is enough to be unmistakable on a still and unobtrusive in motion. Full opacity is for draft marks that are meant to be annoying.
• Add an outline or a shadow to text. Footage changes brightness constantly and a mark with no edge treatment will disappear for part of every clip.
• Size it relative to the frame, not to your screen. A watermark that looks right at 30% of a 1080p frame looks the same on a phone and on a television; one sized in pixels does not.
• Start from the best source you have, and keep an unwatermarked master for anything you might need to re-edit.

Common use cases

• Client previews: A visible mark on a cut that has not been paid for yet, removed for the final delivery.
• Social clips: A small handle or logo in a corner, so a repost still points back to you.
• Screeners and licensing: A tiled, low-opacity mark across the whole frame, which is what makes a crop-and-repost pointless.
• Course and webinar recordings: A tiled mark carrying the buyer's name, so a leak is traceable to a purchase.
• Internal drafts: A large diagonal DRAFT or CONFIDENTIAL, so nobody ships the wrong version.
• Stock footage: Attribution on a review copy, with the clean file held back.

The whole pipeline runs in the background on your device, so the page stays responsive while a long clip encodes. Decoding and encoding go through your device's own media pipeline, which hands the work to your machine's hardware video engine wherever one exists.

What happens on each frame

• Read: The container is parsed on your device and the video track's real dimensions, rotation and bitrate are read from a header — no frames are decoded just to find out whether the file can be opened.
• Prepare: Text is rendered once into a bitmap at export resolution, or your logo is decoded once. Both then behave identically for the rest of the run.
• Composite: Each decoded frame is drawn, then every visible copy of every watermark is drawn over it with its own rotation and its opacity at that moment in the clip.
• Encode: The composited frame goes straight back into the encoder at your source's own bitrate, and the audio track is carried across untouched.
• Verify: The finished file is decoded again and its dimensions, duration and bitrate are read back from the bytes, so a file that came out empty or wrong fails loudly instead of downloading.

Powered by our own on-device compositing and encoding pipeline.

• Image watermark
• Video compressor
• Video resizer
• Video cropper
• Video cutter
• Video rotator