Projects

The editors

On the phone

Photo and video editing live on the phone, where the camera and the processing are.

Photos

Film looks, color, light, grain, dust and light leaks, retouching, object removal, and generative fill. A look you like can be saved as a recipe and applied to a whole batch.

Signature looks

The photo and video editors open on Signature: five looks, one for every kind of light, each the lead of its pack. Start here, and go to All for the rest.

On the phone, Looks is the first tab of the photo editor and the one it opens on, with Adjust next to it for the sliders, then Retouch, Border, Lighting, Texture, FX and Text.

Look	What it is for
Gold 200	Days out and friends, and anything that should feel like a roll of film.
Sun Kissed	Skin in the last hour of sun: portraits, the beach, a long lunch.
Air	The bright, minimal feed: interiors, flat lays, white walls.
Dusk	Evenings, city streets and anything you want quiet.
Silver	Portraits that should look printed, not posted.

Every look comes in one of five packs, each led by the one marked with a star: Film (Gold 200, Cream 400, Mint 400, Flash 35, Expired), Warm (Sun Kissed, Amber, Apricot, Terracotta, Golden Hour), Clean (Air, Pure, Linen, Porcelain, Coast), Moody (Dusk, Nocturne, Forest, Cinema, Velvet) and B&W (Silver, Vintage B&W, Selenium, Matte Mono, 35mm, Classic Mono). Classics keeps every look from earlier versions. Each one is tested so shadows and highlights keep their detail, and skin keeps its color.

To	Do this
See the original	Hold the half-circle at the bottom right of the photo; let go to see your edit. The half-circle appears once the photo has a look, a color change or a retouch on it.
Set how much of a look	Drag Strength under the looks. Its line says what the look is for. 0 is your photo untouched, 100 is the full look, and a new look starts at 100.
Keep a look close	Hold it to add it to Favorites, the first filter over the looks. Hold it again to take it off.

Collage

Choose two to six in Studio's grid and tap Collage. Pinch to zoom a cell, drag to reframe it, hold and drag to swap two cells, double-tap to put one back. Save writes the file to your library. The web app has the same editor in Projects; see Making a collage.

Video

Tool	What it does
Split and speed	Cut a clip and ramp its speed along a curve
Reverse	Play a clip backwards
Crop	Pick the frame the clip fills, then drag the picture to move it and pinch to resize it. While the tool is open the preview is the control, and the line over the frames says so
Cutout	Take the background out from behind a person
Overlay	A second video picture-in-picture. It gets its own lane on the timeline the moment you add one: drag the block to move it, its handles to trim it, pinch the preview to size it
Lanes and layers	Every lane keeps a + at its right edge, so a second song, text or sticker is one tap away with the first already there. Items that overlap in time stack into rows, so two captions at the same moment are both visible and both grabbable
What shows up when you add	A clip, a video overlay, a sound, a sticker and the first caption pass each draw a dashed block where they will land, from the tap until the copy finishes. A clip you add comes in selected with the playhead on its first frame, so the timeline moves to it, and so does a copy or a clip you move. A sound comes in selected, so the toolbar is about it. A sound or a text added with the playhead parked at the very end starts just before the end instead, so it is on a frame
Transitions	Pick a clip, then In or Out under a move. In plays into the clip, from the clip before it or from black on the first. Out plays into the next clip. It is off when there is no next clip, or the next clip has its own In, which wins at the join; the line above the chips says which clip you are on and why. A tap builds the join and plays it in the preview. Every transition that plays gets a mark on the video lane; with the tool open, tapping a clip picks it without leaving the tool, and the mark opens the tool from anywhere else. A clip's own toolbar has the same tool, in place of the old Animation list
A photo	Pick a photo where you pick a clip and it comes in as three seconds of one frame: a title card, a product shot, a screenshot to talk over. Trim it, speed it, caption it like footage. A photo over the video is a sticker: the Sticker tool
Keyframes	Move, scale and fade text and stickers over time
Captions	Word-timed captions from what is said, read on your phone, so nothing leaves it. Six looks: Classic, Bold, Karaoke and Pill (the spoken word lights up as it is said), One Word and Minimal. Every caption is an ordinary text item on its own lane: move one, restyle one, delete one, and the rest stay. Switch the look and they all take it, including the ones you edited by hand, which are otherwise left alone. The export burns in exactly what the preview shows
Caption position	Once captions are on the timeline, the slider under the looks in the Captions tool moves every one of them up or down together, the ones you edited by hand included. Right is higher. The height is kept with the project, so redoing the captions lands them there too, and Reset puts them back at the look's own height. A drag is one undo
Ask	Say what should change, and it changes. Ask is first in the toolbar. Type it, or tap the mic, speak, and tap it again: “cut the ums, speed up the second clip, add a title that says Day 3”. MORR carries it out with the editor’s own tools and knows your clips, the text on screen, your saved looks and every film look, caption style, crop and transition by name. The line under the box is the receipt, written from what actually ran, with Undo beside it: everything one sentence does is one undo. Cancel stops a sentence while MORR works it out, Show opens the toolbar a result landed on (the moments Find clips found), and a failure comes with its fix, Try again or Allow it. What it cannot do, it says instead of guessing; if it did not catch what you said, or you changed the timeline while it was thinking, it says that and applies nothing. Leaving the box cancels a live mic; nothing is sent behind your back. What leaves the phone is your sentence and the shape of the timeline (clip lengths, the text on screen, the names of your looks, and the first words heard in each clip when captions or Best take already read it), never the video itself. One credit a sentence, the same as any Ask turn
Auto edit	The whole edit in one tap, second in the toolbar after Ask. It runs Best take, puts captions over what was kept, puts on your look, takes the steady background out of the sound, and places a title from your first line with a callout where each number is said. The caption style and the look are the ones you last picked by hand, or your Blitz answers until you have (the card says so when there is no look); Clean voice and the titles run unless you turned them off (see It remembers). Everything is one undo: the card lands once, when the pass is done, as Your edit is ready with a last line naming what else was done, and Undo it all puts the clip back as it was. The working row follows you to the main toolbar if you leave the panel, with Cancel on it. Cancel keeps what already landed and the card says it stopped. A take with no words to read skips the captions and still gets the look. If the cut could not be made, nothing else goes on, and the alert says why. It runs on your phone and costs nothing
Best take	Say it five times, keep the best one. The first button under Clean up in the toolbar. MORR listens to the whole take on your phone, keeps one clean read of each line, and drops the retakes, the slips between takes and the dead air. With a script it keeps the read closest to your words and names any line it did not hear; without one it keeps the last time you said each thing. Anything long you said that was not in the script is kept and pointed out, never deleted. The cut plays as its card lands, and the card draws the whole take as a strip with the kept parts lit. Keep it, or Undo this cut puts it all back in one tap. A take with nothing to cut gets its own card, with Clean up the ums beside Carry on, and Cancel stops a pass while it listens. Your original clip is never touched. It needs speech recognition turned on for MORR
Clean up	Cut the filler words and the dead air out of a talking head
Cut words	The take as the words it heard. Tap a word and it is cut from the clip, the breath after it included, and the caption it sat in loses that word. A word already out stays in the list, struck, so the take still reads whole. Undo on the panel puts the last cut back, and only that. If the take could not be read, the panel says why, with Try again or Open Settings; a take with no words heard offers Read it again. Read on your phone, once: Captions and Best take use the same read
Titles from the take	Auto titles in the Text tool puts your opening line over the first seconds as a title, and a callout on screen where each number is said (“3 things”, “40 percent”). Every one is an ordinary text item afterwards: move it, restyle it, delete it. The button then reads Redo titles, which replaces them; Remove titles takes them all off, and that is remembered. A take with no opening line and no numbers gets none, and says so
Clean voice	In the Audio tool. Takes the steady background out of every clip's sound: the fan, the road, the hum of the place you filmed in, under your voice. On your phone, with nothing sent anywhere, and the picture is untouched. It works as hard as the take needs: a take with a loud background gets the full gate, one that is only a little noisy gets a gentle one, and a take with nothing but your voice in it stays as shot. Tap the button on a take like that and MORR tells you it is already clean. The button is lit while it is on; tap it again for the sound as shot. A freeze frame and a reversed clip are silent and are left alone
Mute	The speaker beside Clip volume in a clip's toolbar. One tap takes the clip's own sound to 0 and the readout says Muted; the next tap puts back the level it had, not full. Mute all in the Audio tool does the same to every clip at once, and reads Unmute all once they are all silent. Music, a voiceover and a sound lifted onto the audio lane keep playing. Every tap is one undo
Overlap	Beside Volume in a clip's toolbar, this carries a clip's own sound across a cut. Sound in early starts it under the clip before, and Sound out late keeps it going under the clip after, up to two seconds each in tenths. The sound comes from the part of the file outside the trim, so a side is off, and the row says why, when the clip has no neighbor there, runs to the end of its file, is a still, is reversed or is muted. The preview plays it the way the saved video will, and the clip carries a small in 0.3s or out 0.5s badge on the timeline. Each slider drag is one undo
It remembers	A correction becomes the rule. Pick a caption style, put on a look, turn Clean voice or the titles off, and the line at the top of the toolbar says it is remembered: the next Auto edit runs that way, and so does Blitz for the voice and the titles. Undo the edit, or close the tool with ✕, and the rule goes back with it. Blitz's own five answers do not change; for Auto edit, what you picked by hand wins over them. Remembered on this phone only
Highlights	Find the clips worth keeping in a long take
Blitz	Stop recording and the take is cut, captioned, given your look and posted to your channels, with no review. A door in MORR Cam beside Teleprompter and Photo booth. Phone only. After a take, Add another take films a second one into the same session and Done joins them into one video before the cut; closing the camera ends the session too. The photo button beside the strip, and From camera roll in its settings, send videos already on your phone through the same pass, one take each. A take that misses the quality bar is held with the reason instead of posted. See Blitz

Exporting

An export shows real progress and finishes or fails. It never sits there. The finished file goes to your camera roll and into your library, ready to schedule.

Color	What the phone saves
HDR	A project whose every clip is HDR (an iPhone take is, from the 12 on) is saved in HDR, as HEVC, with the looks, titles, captions and stickers drawn on it the way the preview showed them. Nothing to pick: the Save video sheet says Saved in HDR, as shot.
Standard	A project with a standard clip in it, a photo, a reversed clip or a download among them, is saved in standard color and its HDR clips are brought down to match. The sheet says so before you pick a size: Saved in standard color: this project mixes HDR and standard clips.

Shooting

Camera on Home opens the camera you used last, straight away. The first time, and from the camera button in Studio, a sheet offers the four ways to shoot, one tap each, with the last one you picked marked. Inside any of them the mode name at the top (BLITZ, TELEPROMPTER, PHOTO BOOTH, or CAMERA over your iPhone’s camera) opens that sheet again, so switching never means going back to Home. It sleeps while a take rolls. Everywhere else a camera button means a plain photo or video and opens your iPhone’s own camera straight away: Camera among the composer’s three media tiles, and in the library’s +.

Choice	What it is for
Camera	Your iPhone’s own camera, with Apple’s processing and controls; switch between photo and video there. What you shoot lands in your MORR library the moment you take it, and Saved to your library says so, with Edit beside it to open the shot in the editor straight away. From the composer it goes on the post you are writing too. Back up new media and video backup decide whether it also goes to the cloud, the same as any import. It is not put in your camera roll.
Teleprompter	Film with a script. The camera is full screen with your words scrolling over it, so you read to the lens instead of to a sheet off to the side. With no script loaded it opens the editor first. It records in 4K at 24 frames a second, the rate film runs at, and in HDR on an iPhone 12 or later (Video HDR on earlier ones). Posted as it is, the take keeps its HDR, and so does a cut of it in the editor; only a project that mixes it with standard clips is brought to standard color (see Exporting). There is no look while you record, so the editor starts from the cleanest picture.
Photo booth	Press the red button and it counts down and shoots four frames, then prints them as one photo: one column on warm fiber paper, the way a booth strip comes out of the machine, or two by two on black film if you pick it. It always opens in Vintage B&W: deep blacks, creamy whites, flash falling off to the corners and fine grain in every frame. The booth’s other films are under the frame, and every look is still in the editor afterwards. Flash, the countdown and the camera flip sit on the frame’s corner.

To	Do this
Film a script you already have	Film it under a daily hook you scripted, or Film with the teleprompter on a script row of a shoot day. The teleprompter opens with those words loaded.
Cut the retakes out of a prompter take	Stumble, say the line again, keep rolling. When you stop, Cut the retakes on the review screen saves the take and opens it in the editor with one clean read of each line kept and the rest gone. The script you read is what it matches against, and the card names any line it did not hear so you can read it again. Save as is keeps every second instead, and Undo this cut in the editor puts the whole take back.
Focus	Touch the frame where it should be sharp. Keep your finger down and slide up or down to brighten or darken.
Focus with a script up	Double-tap the frame. A single tap pauses the script and a drag scrubs it.
Hand focus back	Nothing. Once the scene changes, the camera goes back to following it on its own.
Set how much of a look	Drag Strength under the photo booth’s looks. The frame changes as you drag, and the shot saves at the same strength. Each look remembers where you left it.
See the scene without the look	Hold the half-circle beside Strength. The frame says ORIGINAL until you let go.
Light the photo booth	Tap the flash on the frame’s corner: On to begin with, Auto or Off. On the back camera it is the flash; on the front camera the whole screen lights up warm white at full brightness for the shot, the way your iPhone’s own selfie flash does.
Give yourself longer before the booth starts	Tap the seconds on the frame’s corner: 3, 5 or 10 before the first photo. The rest follow three seconds apart, like a real booth, with a tick you can feel each second. The booth remembers your choice.
Shoot sideways	Turn the phone. Photos and teleprompter takes are saved the way up you held the phone when you pressed the button: landscape stays landscape, portrait stays portrait. With the front camera the frame shows you as a mirror does, and the saved photo or take shows you as everyone else sees you, the same as your iPhone’s camera.
Add grain, halation, a light leak or dust	Tap FX at the end of the row, then tap an effect to switch it on and drag its amount. They stack, over any look, and save with every frame of the print. Tap the leak’s color name to change it.

If the camera will not open	What MORR offers
Camera access is off for MORR	Open Settings to turn it on, or Choose from your library to add something you already shot. Come back from Settings and the camera opens.
Screen Time or a device profile blocks the camera	Choose from your library. MORR cannot switch this on.
There is no camera, as in the Simulator	Choose from your library.