Every video model
Mark a subject, get a mask
Rotoscope a clip in three steps
- 01
Open your clip
Drop a generated or uploaded clip onto the timeline and park the playhead where the subject is clearest.
- 02
Mark the subject
Click it, drag a box around it, or describe it in a few words.
- 03
Use the mask
Grade inside it, blur what it covers, or invert it and change the background.
Use cases
Grade one subject, not the whole shot
A take is right except for the subject: too cool, too flat, lost against what is behind. Track them and the grade lands on those pixels alone, so the rest of the frame keeps the look it was rendered or shot with. The alternative is regenerating a take you already like.
Pick the person you mean
Two people share a frame and only one needs the work. A rectangle can say where but never which, and a hand-drawn shape has to be redrawn every few frames. A click plus a short description settles it, and each person ends up with a mask of their own.
Lift a subject onto a new background
Invert the tracked mask and the subject comes away from its plate, ready to sit over another clip, a gradient or a flat colour. No green screen at the shoot, and no keyer struggling with a cluttered room, because the model reads the picture rather than a colour.
Hold a subject through a crowd
People cross in front of the subject and the mask picks them up again on the other side. Long occlusions are where any mask slips, so check the whole clip rather than the frame you marked, and mark again later in the shot if it drifts.
Why rotoscoping was the slow job
A mask is only a statement about which pixels are the subject. Making that statement by hand means drawing a shape, stepping forward a few frames and correcting it, over and over, for the length of the shot. It is exact and it is slow, which is why roto has its own line on a post schedule and often its own vendor.
The shortcuts were never satisfying either. A green screen moves the work to the shoot and rules out anything you did not plan for. A keyer needs clean separation that real footage rarely has. Tracking a rectangle holds position but not shape, so the moment the subject turns, the box is wrong.
Where AI rotoscoping holds up, and where it does not
It holds up where the subject is a coherent thing with an edge, and it is unbothered by a busy background, which is where keying falls apart. Every clip on this page was tracked from a single marked frame.
It is harder where the edge itself is ambiguous. Fast motion smears a boundary across pixels belonging to both the subject and what is behind it. A subject that walks fully behind something and returns is worth marking again on a later frame. A subject that barely reads against its background is the real limit: in our tests a dancer in a translucent skirt against a near-black studio was lost after the first frame, while a yellow coat in grey fog held across every frame.
Morphic runs SAM 3.1 for this, the current version of Meta Segment Anything. For the step-by-step version, read how to track a subject with SAM 3.1.
Time-freeze effect
Cinematic time-freeze short film for any scene
Dance your character
Upload a character image and make it dance in any style.
Messages to cinematic scene
Dramatize any text conversation into a cinematic multi-shot video.
Title sequence
Generate a professional film title card from scratch, with optional cinematic animation.
Cinematic storyboard
Share a scene description with character references. Get a full storyboard with shot angles and mood.
Put yourself in a movie
Drop in a photo of yourself. Get a 12-second cinematic movie with animation and a matched soundtrack.
All on Morphic
SAM 3.1
The model behind the tracking: what it does, how to mark a subject, and what changed in Meta's 3.1 release.
AI green screen
Skip the physical backdrop. Cut the subject and describe the scene you want behind it instead.
Video background remover
Doing only the background? Cut it from any clip and swap in a new scene with a prompt.
Remove object from video
Taking something out rather than keeping it. Say what to erase and the shot is edited in place.
