Images / Inpaint Anything

Keep the scene.
Rewrite a detail.

Select the part of an image you want to change, then describe what should belong there.

Inpainting is useful when the location of the edit matters as much as the description. Remove a distracting object, replace an element, or revise a selected area while using the surrounding image as context.

Open in Studio See how it works

Your inputs, directions, and versions stay together in Studio.

Original synthetic lake scene with a natural wooden boat — Actual native Studio recolor. The wooden hull becomes bright red while the lake, mountains and framing remain recognizable. The reflected underside stays very dark; inspect both sides with the comparison control.View the recorded recipe

Native Inpaint result with a bright red boat and a dark reflection — Actual native Studio recolor. The wooden hull becomes bright red while the lake, mountains and framing remain recognizable. The reflected underside stays very dark; inspect both sides with the comparison control.View the recorded recipe

Choose your starting point

Small area. Real possibilities.

Region to change identifies the target in words. The main direction describes what should appear there.

Object removal

Select the unwanted object and describe the scene that should continue behind it.

Image inpainting

Replace or reimagine a selected area with attention to context and boundaries.

Edit without a mask

Use a written instruction when a selected region is not necessary.

A considered workflow

Describe the region. Review closely.

The connected native workflow selects a region from text. Keep the original image available for comparison.

Select the complete target

Include the object and relevant traces such as its shadow or reflection. Leave visible surroundings that help explain the replacement texture and perspective.

Describe the replacement

For removal, describe the background you want to see rather than only saying what should disappear. For replacement, specify material, scale, placement, and light.

Check the seam

Compare the edited image at normal size and close up. Inspect repeated patterns, reflections, horizon lines, and the point where the edit meets the original.

From pointing to replacing

Give the edit
a clear boundary.

The selected region says where to work. The direction says what should belong there.

Original wooden boat on the alpine lake — The actual source and native Inpaint result. The middle panel repeats the source to identify the text-described target; it is not a painted-mask preview.View the recorded recipe

The source used with the recorded text region, not a painted mask — The actual source and native Inpaint result. The middle panel repeats the source to identify the text-described target; it is not a painted-mask preview.View the recorded recipe

Make the brief do the work

Tell it what belongs there.

This is the actual prompt used for the displayed red-boat result. Removal has its own matched example and recipe.

Example direction

A bright red painted wooden rowboat on a calm alpine lake, vivid scarlet red hull, realistic paint texture and natural dawn light. Its reflection below the boat has matching dark red color on the lake surface.

Exact recorded prompt. Region to change: “boat. reflection of the boat.” The library recipe includes the original source and actual settings. The worker randomizes its seed.

Think about the object’s footprint

A person or object can affect more than its visible outline. A cast shadow, reflection, displaced water, or an occluded background may need to be included in the edit.

Describe the object and related traces in Region to change. Add a Region to preserve only when needed, keeping useful surroundings outside the intended edit.

Look for structure that must continue

A plain wall and a tiled floor pose different editing problems. The floor has perspective lines and repeated shapes that should remain aligned through the edited region.

Review the output against the surrounding structure. If the boundary is convincing but the interior pattern is wrong, refine the description instead of judging the result only by whether the original object disappeared.

Keep Inpainting distinct from Guided Edit

The connected Inpaint workflow uses a text-described region to build its selection. Guided Edit uses the whole image with an instruction. A painted draft mask is not accepted by the current native Inpaint connection.

Image Inpainting and Video Inpainting have separate Studio entries and separate service adapters. An image-editing workflow does not establish support for temporal video tracking.

The useful details

A few good
questions.

Should I include the shadow in the mask?

Include it when removing or replacing the object would make the existing shadow incorrect. Review reflections and other traces for the same reason.

How much of the surrounding area should I select?

Select enough to cover the intended change and its boundary, while leaving useful context visible. The right extent depends on the subject and the image; there is no universal mask size.

Can I use this for video inpainting?

This page describes the existing image workflow. Video Inpainting has its own page under Video Edit.

Is the comparison an actual verified job?

Yes. It is a native Inpaint Anything result from Studio, with the original input and exact controls available in the recorded recipe. It is not a third-party illustration. The worker chooses a random seed, so repeat runs need not be pixel-identical.

Connected workflows

Keep the idea moving.

All use cases

Your next step

Take the idea further.

Explore the possibilities here, then continue in the existing Studio.

Open in Studio