A wooden hand stamp resting on a marked-up page, the mark that goes on every print before it leaves the room
CUTROOM

All tools / Batch Watermark Videos

Batch Watermark Videos.

Forty clips. One setting. One zip.

→ Mark the clipsFree, no account, and your video is never uploaded

How it works.

Put your logo or your name in the corner of your clips.

  1. Step 1

    Drag your clips in

    One or forty. They stay on your device.

  2. Step 2

    Drop the logo, or type the words

    A PNG, JPEG, WebP, or SVG keeps its transparency.

  3. Step 3

    Download them all

    Every clip together, in one zip file.

In detail

Watermarking in bulk is where every free tool quietly gives up: one file at a time, an upload for each, and a fixed pixel size that suits none of them. Drop up to forty clips here at once, set the mark once, and the batch runs as a queue you can watch and stop. Every clip is planned against its own frame, so a folder mixing 4K masters, 1080p exports, and portrait phone recordings comes back with the same mark in the same place on all of them. Each row carries its own status and its own download, and the whole set arrives as a single archive. Nothing is uploaded, so a folder of client rushes stays on your machine.

What it gives you.

  • Up to forty clips on one setting

    Drop a folder, set the mark once, and the whole batch runs. Each clip is its own job with its own row, its own status, and its own download link, so a failure on clip nineteen does not cost you the other thirty nine, and cancelling half way keeps everything already finished.

  • The mark scales with each clip

    The size is a percentage of the clip's own frame width and the margin a percentage of its shorter edge, never a pixel count. Eighteen percent of a 3840 wide master is 691 pixels and eighteen percent of a 720 wide export is 130, which is the same mark to anyone looking at either one. That is the difference between a batch that looks deliberate and a batch that looks like forty accidents.

  • Transparency kept

    A logo with a transparent background stays that way. The file is redrawn as a PNG with its alpha channel intact and composited onto each frame, so the shape of the mark is the shape you drew, not a white box with your shape inside it. The opacity slider then rides on top of that, from a faint five percent ghost to a solid stamp.

  • Corners, centre, or tiled

    Four corners and the centre for branding. Tiled for anything you expect to be reposted: the mark repeats across the whole frame at thirty degrees, in a weave with the rows offset, and the pattern runs off every edge so there is no clean corner left to crop back to.

  • Phone footage comes out upright

    A phone writes its rotation as a flag rather than turning the pixels, which is why a sideways recording gets a sideways watermark in most tools. Here the flag is applied first, the mark goes onto the upright picture, and the output carries no flag at all, so a portrait recording hands back a portrait file with the mark in the corner you picked.

  • No account, nothing uploaded

    The decoding, the drawing, the encoding, and the zip all happen in this tab on your own machine. A folder of client rushes never leaves the building, there is no queue page, and there is no second watermark added by us on the way out.

Straight answers.

How do I watermark multiple videos at once?

Drop them all in, set the mark once, and take the archive. Two things make bulk watermarking work rather than merely run. The first is relative geometry: if the size is a pixel count then a mixed folder comes back with forty different looking marks, so the size here is a percentage of each clip's own frame width and the margin a percentage of its shorter edge. The second is a queue that survives contact with reality. The clips run one after another, each as its own job, so the tab stays responsive, the bar can say which clip is where, a clip that fails does not take the batch with it, and cancelling half way through keeps everything already finished and packs it anyway.

Does my logo keep its transparency?

Yes. A PNG or WebP with an alpha channel is redrawn here as a PNG with that channel intact, and it is composited onto every frame rather than pasted over it, so only the pixels you actually drew land on the picture. That is why a round badge stays round and a wordmark with no background stays a wordmark. An SVG is rasterised first, because the video encoder deals in pixels, and it is rasterised large so it stays crisp even at sixty percent of a 4K frame. A JPEG has no transparency to keep, by design of the format, so a logo saved as a JPEG will arrive as a rectangle with whatever colour was behind it; if that is what you have, re-export it as a PNG first.

How big will the mark be on different clips?

Always the same fraction of the picture. The size control is a percentage of the frame width, defaulting to eighteen, so on a 1920 wide clip that is 346 pixels and on a 1080 wide portrait recording it is 194. The margin works the same way, as a percentage of the shorter edge, so the mark sits the same distance in from the corner on a wide master and a tall reel. If a tall logo at your chosen size would run past the top and bottom margins, it is scaled down to fit rather than cropped, and the plan line says so. That is the whole reason for the tool: a fixed pixel size is the thing that makes a batch look wrong.

Can I watermark many videos at once?

Up to forty in one go, which is the point rather than a bonus. They run one after another rather than all together, because forty simultaneous video encodes in one browser tab is a frozen tab; a queue with an honest bar is faster in practice and far easier to trust. The bar reads clip three of twelve and names the stage, each row shows its own status and its own size when it is done, and cancelling stops the queue where it is and keeps everything already finished. At the end the whole set is packed into one zip, stored rather than compressed, because an MP4 does not shrink and there is no sense spending seconds proving it.

Will the quality drop?

Slightly, and unavoidably, because drawing on a picture means decoding it and encoding it again. The encode is aimed generously, at about twenty percent above the bitrate the compressor calls comfortable for that frame size and frame rate, and it is capped at the source's own bitrate so a marked clip is never larger than the clip it came from. In practice one generation at that setting is invisible on anything but a synthetic test pattern. The sound is not touched at all: the audio packets are copied across byte for byte whenever the container will carry them, so only the picture goes through the encoder.

Other tools