Click the colour you want gone — white paper, a flat studio backdrop, a green screen — and it becomes transparent. Or go the other way and flatten a transparent PNG onto a solid colour.
This tool makes one colour in an image transparent. Click the white behind a scanned signature, the flat backdrop behind a product shot, or the green screen behind a person, and everything matching it disappears — leaving a clean transparent PNG.
It is a different job from an AI cut-out, and better at this particular one. An AI model guesses where the subject ends, which is what you want for a photograph of a person against a busy room. But when the background is genuinely one flat colour — a logo on white, a scan, a chart exported from a spreadsheet — colour matching is exact, instant, and does not invent an edge where none exists. It is also the only approach that works reliably on hard-edged graphics, where an AI cut-out tends to round off corners and nibble at thin lines.
Three controls decide how it behaves. Tolerance says how close a pixel has to be to the chosen colour to count — low for a clean export, higher for a photograph or a JPEG whose flat white is actually a thousand slightly different whites. Soft edge fades the boundary over a few shades instead of cutting hard, which is what stops a cut-out looking like it was done with scissors. Remove colour fringe deals with the halo: pixels along the edge are part background, so they carry its colour, and this pulls that tint back out.
The outside-in option matters more than it sounds. Without it, making white transparent removes every white pixel in the image — including the white inside the letter O of a logo, or the whites of someone's eyes. With it, the removal spreads inward from the border and stops wherever it meets the subject, so enclosed areas are left alone.
The reverse mode flattens instead. Give it a transparent PNG and a colour, and it fills the empty area — which is what you need before printing, or before saving as JPEG, a format with no transparency that would otherwise decide for itself.
Everything happens in this page on your own device — no upload, no queue, no watermark — and the preview sits on a chequerboard so you can see exactly which areas are genuinely transparent before you download.
Yes. As well as JPEG, PNG, WebP, GIF, BMP, ICO and AVIF, this tool reads HEIC and HEIF from a phone, TIFF, Photoshop PSD and PSB, TGA, Netpbm, Apple ICNS, and camera RAW from every major brand. Anything the browser cannot open by itself is decoded on your own device before the tool touches it.
Use this when the background is one flat colour — a logo on white, a scan, a chart, a green screen. Colour matching is exact and keeps hard edges perfectly crisp. Use the AI remover when the background is a real scene with detail in it, because then there is no single colour to match and the model has to judge where the subject ends.
Because they are close enough in colour to the background at the tolerance you set. Lower the tolerance, or tick "only from the outside in" so the removal stops when it reaches the subject instead of hunting for matching pixels everywhere in the image.
Edge pixels are a blend of the subject and the old background, so they carry its colour — a green rim after a green screen, a grey rim after white. The "remove colour fringe" slider pulls that tint back out. Around 30 suits most images; push it higher for a saturated backdrop.
PNG and WebP both do; PNG is the safest because every application understands it, while WebP files are smaller. JPEG cannot store transparency at all — if you pick it, the clear areas come out as a solid fill, so use the flatten mode deliberately rather than letting JPEG decide.
Only if they were shot against a plain backdrop. Against a normal room there is no single background colour, so matching will either leave most of the room or eat into the person. That is exactly the case the AI Background Remover exists for.
Yes. Drop them all in, set the colour and tolerance once, and step through them with Prev and Next to check each one before downloading the batch as a ZIP. The same settings apply to every image, which works well for a set of shots taken against the same backdrop.
No pixels are resampled, so the subject is untouched. The only change is in the alpha channel and, if you turn the fringe control up, a small colour correction along the edge. Saving as PNG keeps everything lossless; WebP and JPEG re-encode.