Remove yourself, your tripod, or anything else, and make it impossible to spot.
Open a point, choose Magic Erase, and paint over whatever should disappear, with the round brush or the lasso for precise shapes. Press Erase and the AI repaints the marked area with plausible surroundings. Inside your brush the repaint is always 100%.
The red paint shows exactly what will be removed. The yellow band around it previews where the blend will fade, what you see is what you get.
You can spin the panorama and brush up to 4 separate things before pressing Erase once.
The readout in the menu says Erase areas: N of 4 this press. An area is one separate spot the AI repaints: two marks close together share a single area, and marks on opposite walls are two. That is the number that matters for cost and quality, because each area gets its own tight, full-resolution repaint. If you try to start a 5th, the brush stops and asks you to erase these first, then brush the next batch, so nothing you painted is ever lost or merged.
Feather controls the width of the blend zone around your erase. The repaint starts strong at the erased edge, is a 50/50 mix at the middle of the zone, and fades to nothing at the slider distance. A wider feather spreads the transition over more distance, which hides tone differences on smooth surfaces.
Lean bends the fade curve inside the feather zone. Toward Erase, the repaint holds on longer before letting go, best on smooth ground. Toward Photo, the real image shows through sooner, best on busy detail. The middle is a balanced blend. The yellow guide updates live as you drag, and it always previews the exact curve the real erase will use.
Start every erase at Feather 8, Lean 0, right for most gravel, dirt, and mixed ground. Then, by surface:
Rule of thumb: the busier the real texture, the more you lean toward Photo; the smoother it is, the wider you feather and lean toward Erase.
Find people scans the panorama and marks every person it detects as red erase areas. Nothing is erased automatically, you review the paint, adjust if needed, and press Erase yourself.
After a scan the menu reports People found: N · marked in red, so you can tell at a glance whether the scan saw everyone before you commit. Compare it with the Erase-areas readout beneath it: people standing close together share one area, so five people can easily be two areas. A crowd can exceed 4 areas; Erase then works in batches, doing the first 4 and keeping the rest painted for the next press. If the count looks low, brush the ones it missed by hand.
Before the first erase of any point, the untouched original is backed up automatically. Every AI result is inspected before it is allowed near your panorama, a bad roll retries on its own instead of ruining the photo. Undo steps back one erase at a time, all the way to the original.
Clone Stamp is its own tool in the left rail, right under Magic Erase. Where the eraser asks an AI to invent what belongs behind a person, the clone stamp copies real pixels from your own photo, so there is nothing to guess and nothing to wait for. It is the answer for people standing in washed-out white, and for any spot where the eraser keeps guessing wrong.
Press Pick a source and click the clean area you want to copy, the pointer is a crosshair while you choose. Then paint over what you want covered: the source crosshair walks with your stroke. Pick a new source as often as you like along the way, every stroke keeps the source it was painted with. Brush and Feather set the size and how softly the edge blends. Press Apply clone to save.
After an apply, and whenever you move to another photo, the source resets and the crosshair comes back, a source belongs to one photo and one job. A clone saves exactly like an erase: same backup, same one-step Undo, same eraser badge on the point.
The Not erased filter in the Points list is a work queue: it shows every photo you have not cleaned yet. But plenty of photos have nobody in them, and opening each one just to leave it again keeps it stuck in the queue.
Mark as erased is the small button on the floating pad under Erase. Press it and the photo leaves the Not-erased list immediately, with no edit made, the photo itself is untouched. Press it again to unmark. Erasing or cloning marks the point on its own, so the queue empties itself as you work either way.
While Magic Erase or Clone Stamp is open, the joystick and the button pad float over the photo so the controls are always beside your work. Drag either card by the four dots at its top to park it anywhere; each card remembers its spot for next time.
Add paints new red area to erase; Subtract carves painted area back out when you have gone over an edge. You do not have to look back at the toggle to know which one you are holding: the brush cursor itself shows a + while adding and a − while subtracting, right where your eyes already are.
Subtract strokes never count toward the 4-area limit, so tidying an edge is always free.
The floating pad carries a Brush | Lasso switch under the plus/minus pair. Brush is the freehand round brush, right for people, shadows and anything soft. Lasso is for hard edges: a sign, a doorway, a parked trailer.
With Lasso on, click a point at each corner of the thing you want gone, then click the first point again (or double-click anywhere) to close the loop. The enclosed shape becomes one erase area, exactly like a brushed one, and it counts the same toward the four-area limit. The cursor becomes a crosshair so you can place corners precisely, and Subtract works with either tool.
Straight down in every 360 photo is the one spot the camera cannot see, the tripod it was standing on. The Nadir Patch covers that spot with a round disc, your own logo or a preset, sized until the tripod legs disappear. It sits on top of the photo, so the original file is never changed and you can swap or remove the disc any time.
Magic Erase in the Photo section of the left rail opens the eraser for the point you have open. The drawer slides in, a transparent paint layer covers the panorama, and everything you brush in red gets repainted by AI when you press Erase. The button is a toggle: clicking it again while the tool is open closes it, same as Back or Done. If you are on the map view it switches you to the 360 view automatically.
To use it, open a camera point first, then click the button. It refuses politely if no point is open, if the point is a waypoint (waypoints carry no photo), or if the photo has not loaded yet. On entry a short tip confirms the controls: brush the object, right-drag spins, paint stays until Erase or Clear.
Use it to remove people, the tripod shadow or legs, cars, bins, anything that should not be in the tour. Do the erasing pass before you share the tour: every Erase press permanently updates the photo everywhere it appears (viewer, thumbnails, share cards), though the original is always backed up first and recoverable from Properties.
Back at the top of the drawer closes Magic Erase and returns you to the normal editor. It is identical to the green ✓ Done button at the bottom: one exit lives at each end of the drawer so it is always in reach.
Closing the tool discards any red paint you have not erased yet: the marks are working scribbles, not saved data. Everything you already ran through Erase is saved the moment it finishes, so Back never loses a completed erase.
If red paint is still on the photo and you want it removed, press Erase before leaving. If the paint was a mistake, just leave: it vanishes with the tool.
While Magic Erase is open, the panorama itself is your canvas. Left-click and drag paints red over whatever you want removed. The stroke is interpolated, so a fast swipe stays a solid line with no gaps. Your cursor previews exactly what a dab will do: the red circle is the area that gets fully replaced, and the yellow ring around it is the feather blend, both sized live from the sliders.
Right-click and drag spins the panorama, and the mouse wheel zooms between roughly 30 and 120 degrees of view. Paint is stored on the photo sphere, not the screen, so every mark stays glued to the image while you spin and zoom. Brush size is also zoom-aware: a dab covers what the circle shows on screen at that moment.
Cover the entire object plus its shadow, with a little margin: the eraser grows your paint slightly on its own, but a missed shadow is the number one cause of a ghost left behind. Zoom in for edges and thin things like poles. There is a limit of 4 separate areas per Erase press: if you start painting a brand-new isolated spot past that, the dab is refused and a message tells you to erase the current batch first.
Size sets the diameter of the brush circle, from 14 to 180 screen pixels, default 64. The number to the right of the slider is that diameter in pixels. The cursor circle on the photo resizes the instant you move the slider, so you see the exact coverage before you paint a single dab.
Drag the slider in the Brush section of the drawer, then paint. Each dab is recorded on the photo sphere with a size matched to your current zoom, so marks stay the size you saw them painted at even if you zoom afterward.
Go big, 100 and up, to fill a whole person or car in a few strokes. Drop to 20 to 30 for edges, gaps between legs, and thin objects like sign posts. A practical trick: instead of shrinking the brush very small, zoom in with the wheel; the same slider value then covers a finer patch of the photo and your hand does not need to be as steady.
Feather controls how softly the repainted area blends into the surrounding photo, from 0 to 40, default 8. The blend travels outward only: everything you painted red is always 100 percent replaced, and the fade lives entirely outside that edge. Higher values spread the fade over a wider band, which hides the boundary; lower values keep the fix tight and crisp.
Drag the slider and watch the photo: the yellow band around your red paint is a live, pixel-accurate preview of the fade, generated with the same math the real blend uses. The yellow ring on your cursor previews the same thing per dab. The value is applied at the moment you press Erase, and it is scaled to the crop the AI works on, so the softness looks the same whether the fix was tight or wide.
The default of 8 works for most photos. Push toward 20 to 40 on smooth, even surfaces like concrete, asphalt, grass, or sand, where a hard seam would show. Pull toward 0 to 4 when the erase sits against sharp detail such as brick, fence lines, or painted parking stripes, where a wide fade would smear real texture. Pair it with Lean to decide which side dominates inside the band.
Lean decides which side wins inside the feather band, from 5 steps toward Erase on the left to 5 steps toward Photo on the right, default 0 in the middle. Toward Erase, the AI fill holds on longer before fading out. Toward Photo, the real image shows through sooner. Each step bends the fade curve by a factor of about 1.22, so the ends are a strong push, not a subtle one.
Drag the slider and the yellow guide on the photo redraws immediately with the exact curve the real blend will use, so what you preview is what you get. Lean only shapes the outer fade: the red core is always fully replaced regardless of the setting.
Lean toward Erase on smooth ground such as concrete, grass, or sand, where letting the fill dominate hides the transition. Lean toward Photo on busy detail such as brick, pavers, or painted lines, where you want real texture to reclaim the edge as fast as possible. Leave it at 0 when in doubt; it is the balanced curve and the one most erases ship with.
Show feather toggles the yellow guides: the band around your paint on the photo and the ring around your cursor. It is display only. Unchecking it does not change the erase in any way; the feather blend still applies at exactly the Feather and Lean values when you press Erase.
Check or uncheck it in the Blend section. The guides appear and disappear immediately, and the red paint underneath is untouched either way.
Uncheck it when the yellow is in the way, typically when you are checking whether your red paint fully covers an object and its shadow, since the band can hide a sliver you missed. Turn it back on before adjusting Feather or Lean: without the guides you are tuning the blend blind.
AI fill is an optional text box that tells the AI exactly what belongs where the erased thing was. Left empty, the eraser runs automatic: it continues the surrounding scene and every result is judged for plausibility, with implausible fills rejected and rerolled. With text entered, your description drives the repaint, sent as your words plus a built-in instruction to stay seamless and photorealistic. The first 120 characters are used.
Type a short, concrete description before pressing Erase, for example concrete parking lot, trees behind or large boulder. One press uses whatever is in the box at that moment, so you can erase one area automatically, then type a hint and erase the next area differently. Clear the box to go back to automatic.
Reach for it in two situations: when the automatic fill keeps inventing something wrong in a tricky spot, or when you genuinely want new content in the scene. Be aware of the trade: when a hint is present, the plausibility judge stands down, since deviating from the surroundings is exactly what you asked for. Only the dead-frame protection stays on. That means a hint gives you control but also removes the safety net that rejects odd-looking fills, so review the result and press Erase again if it missed.
Find people scans the whole panorama for people and marks each one in red for you. It renders six flat views all the way around the photo, runs a person detector on all six at once, and turns every confident hit (55 percent confidence or better) into a painted outline padded about 14 percent beyond the person so hair, feet, and a margin are covered. Up to 12 people are marked per scan, strongest detections first. Nothing is erased by this button: you stay the judge. Review the red areas, then press Erase yourself.
Click it and a progress bar shows Looking for people… for a few seconds. When it finishes, a message reports how many people were marked and how many separate areas that makes; overlapping detections of the same person from adjacent views merge automatically, and the Areas counter updates to the honest total. If nobody is found you get No people found in this photo, and if the scan fails you get an error message and can simply try again. If the point's photo is still loading, wait a second and click again.
Run it on every point before publishing a tour: it catches the person half-hidden behind you that a manual spin misses. After it runs, spin the full 360 and check each outline. You can brush additional paint on top of the detections, for example to add a missed shadow. If it grabbed something wrong, note that Clear wipes all paint including your own brushing, so clear early rather than after you have added manual work.
The Areas readout shows Areas: N / 4, where N is the number of separate patches your paint currently forms and 4 is the per-press limit. The tool groups your marks by distance on the photo sphere: paint within about 15 degrees always links into one area, and nearby areas within about 40 degrees merge into one patch when they still fit a single sharp AI crop. So one continuously brushed person is always one area, while objects on opposite sides of the panorama count separately.
It recounts automatically at the end of every stroke, when Find people adds outlines, on Clear, and after each Erase. It hides when nothing is painted. Past 4 the number turns orange: pressing Erase then processes the first 4 areas and keeps the rest marked in red for the next press, never merging or dropping anything. If you try to start a brand-new isolated area while the count already sits at the cap, the dab is refused and a message tells you to erase the current batch first.
Use it to plan your presses. Up to 4 areas cost the same wall-clock time as one, because all areas in a batch fly to the AI concurrently, so there is no speed reason to erase one object at a time. When you see the count go orange after a Find people sweep of a crowded scene, just press Erase repeatedly: each press takes the next batch of 4 until the count reaches zero.
Clear wipes every mark on the paint layer: all brushed paint, all Find people outlines, and any outline still in progress. The Areas counter resets and hides. The photo itself is never touched: Clear removes your working scribbles, not erases that already ran.
Click it any time before pressing Erase. There is no confirmation, and there is no per-stroke undo of paint: Clear is all-or-nothing.
Use it when you painted the wrong thing or when Find people marked something you want to keep. Because it cannot remove a single stroke, work in small batches on complicated scenes: paint one object, erase it, then paint the next. If what you actually want is to bring back a photo you already erased, that is not Clear; use Undo Erase in the point's Properties panel.
Erase is the commit button. It re-reads the photo currently on the point so it always works on the latest version, groups your paint into up to 4 areas, and frames a tight 1024-pixel crop around each one. Every crop goes to the AI inpainter with your mask; each area runs two independent attempts at once and the more plausible result wins, with dead or implausible frames rejected automatically and one extra retry round if both attempts fail. Before the first erase ever touches a point, the pristine original is backed up to the cloud, and the save waits for that backup: if the backup cannot be written, the erase cancels and your photo is untouched. The finished patches are feathered per your Feather and Lean settings, blended back into the full panorama, saved locally and to the cloud, and recorded in the editor history so Undo can step back one erase at a time.
Press it once your red paint covers everything to remove. Expect 20 to 60 seconds; the overlay shows the stage and a live timer the whole way. When it finishes, the repainted photo reloads at the same view and the tool stays armed, so you can keep touching up without reopening anything. If more than 4 areas were marked, the first 4 are erased and the rest stay painted, with a message telling you to press Erase again for the next batch.
What can go wrong, honestly: with nothing painted you are told to brush first. If every AI attempt for every area comes back bad, nothing is changed and you can simply press again, since attempts are random samples and the next roll usually lands. If only some areas fail, the good ones are saved and the message tells you how many came back blank so you can re-brush just those. Each press is a saved edit, so the photo updates everywhere immediately; the original is always one Undo Erase away in Properties.
The Spin the view stick turns the panorama from inside the drawer. It exists because a drag on the photo paints, and tablets have no right-drag: the stick is the touch-friendly way to look around without marking the image. Your paint stays glued to the photo while the view moves.
Press and hold the knob, then push in any direction: the view swings continuously that way, faster the farther you push, and up means look up. Speed also scales with zoom, so a zoomed-in view pans gently instead of whipping past the thing you are trying to brush. A small dead zone in the center means a resting thumb never drifts the view. Vertical travel stops at 85 degrees up or down. Let go and the knob springs back to center and motion stops.
On a tablet this is your main way to turn while erasing. On desktop it is optional, since right-drag directly on the photo does the same job; some people still prefer the stick for slow, controlled sweeps when checking a Find people pass around the full 360.
✓ Done at the bottom of the drawer closes Magic Erase, exactly like Back at the top. Two exits, one behavior, so you never have to scroll to leave.
Everything you ran through Erase is already saved: each press commits immediately, so Done never has anything left to save. Any red paint still sitting on the photo when you close is discarded, because paint is a working overlay, not data.
Press it when the photo looks clean. Habit worth building: spin a full circle first, check the Areas counter reads nothing, and confirm no red or yellow remains. If paint is still visible and you want it gone, press Erase before Done.
The progress overlay covers the panorama whenever Magic Erase is working, and it shows two different indicators so it never lies about what is happening. While the AI is actually repainting, you get the scrubbing-eraser animation plus a live elapsed timer. During every other phase, loading a photo, scanning for people, backing up the original, or saving, you get a slim progress bar instead, with the stage named: Loading photo…, Looking for people…, Backing up original…, Saving….
The timer is your reassurance during the long AI leg. It counts every second and updates its message as time passes: under 15 seconds it says still working, up to about 35 seconds it says the AI is repainting the area, and beyond that it tells you big fixes can take a minute. Stage texts also narrate the run: Framing the fix…, Erasing 4 areas… or Erasing 4 of 7 areas… when a batch is queued, A patch came back blank · trying again… when a bad sample gets rerolled, and Blending back… while the patches are feathered into the panorama.
There is nothing to click; the overlay clears itself when the phase ends. One edge case to know: if the finished photo cannot repaint on screen, a message says the erase is SAVED and asks you to click the point in the list to reopen it. That is a display hiccup only, never a lost erase.
Upload opens a file picker (PNG, JPEG or WebP) and bakes your image as a round patch over the tripod spot at the very bottom of the open point's photo. The patch sits exactly at the floor point under the camera and is baked into the rendered photo, so it reads as a flat disc on the ground from every viewing angle, not a sticker that swims around. The thumbnail next to the button shows the current patch, or NONE when the point has no patch yet.
Open a point that has a panorama, open the Nadir Patch drawer, click Upload and pick your file. The photo re-bakes for a moment, then the patch appears when you look straight down. If a patch was already set, the new image keeps the size you had chosen; a fresh patch starts at 25 degrees.
The patch is always a circle: only the round center of your image is used, and the corners of a square file are cropped away. Keep your mark centered and use a PNG with a transparent background for the cleanest result. Uploading affects this point only; once it looks right, use Apply to all points to cover the whole tour. Your original photo file is never modified, so you can clear or swap the patch at any time.
Clear removes the nadir patch from the open point and re-bakes its photo back to the untouched original. The button only appears while the point actually has a patch. Because the patch is baked over a copy, clearing is a perfect restore: the original photo was never modified.
Click Clear, wait a moment for the re-bake, and the tripod spot is visible again. There is no confirmation dialog, but nothing is lost for good: you can re-upload the same image or tap a preset to bring a patch back.
Clearing touches this point only. Every other point keeps its patch, and the tour default is untouched, so any point you add later still gets the default patch. If your goal is to make this point match the rest of the tour rather than have no patch at all, use Revert to tour default instead.
The Presets grid holds seven built-in floor discs. One click applies the chosen disc to the open point, and the active preset's chip stays highlighted. Charcoal is a dark grey disc with a subtle ring, the safest all-round choice on wood, carpet and concrete. Amber is the StrollPoint orange with a white ring. Route is green with a dark ring. White has a light grey ring and blends into pale floors. Navy is a deep blue that disappears on dark flooring. Rings is a dark disc with an amber edge and pale concentric rings, and Compass is a dark disc with amber tick marks every 45 degrees for a surveyor look.
Open a point, then click any chip. The photo re-bakes and the disc appears straight down. Switching chips swaps the artwork only: whatever Size you set is kept. Picking a preset replaces an uploaded image, and uploading replaces a preset, since a point carries exactly one patch.
Presets are the fastest fix when there is no client logo to upload. Match the disc to the floor: Charcoal or Navy on dark floors, White on light floors, and save Rings or Compass for tours where you want the patch to read as a deliberate design mark rather than vanish.
The Size slider sets the angular radius of the patch, from 8 to 60 degrees measured up from the point directly below the camera. The readout on the right shows the current value in degrees. A new patch starts at 25 degrees. The slider is greyed out until the point has a patch (upload an image or pick a preset first).
Drag the slider and the number updates live; the photo re-bakes with the new size when you release, not on every pixel of the drag, so expect the visible change a beat after you let go.
20 to 30 degrees hides a normal tripod head cleanly. Go larger only if legs, a monopod base or your feet show in the shot. Resist maxing it out: at 60 degrees the disc swallows a big circle of real floor, which looks worse than the tripod did. Size is per point; Apply to all points carries both the image and this size to the rest of the tour.
Apply to all points copies the open point's patch, image and size together, to every point in the tour, and also saves it as the tour default so any point you add later gets the same patch automatically. The button is disabled until the open point has a patch.
Click it and a confirmation dialog states exactly how many points will be touched. Confirm, and every photo re-bakes one after another; the editor runs them in sequence on purpose so the browser does not choke, which means a large tour can take a few seconds. A toast confirms the count when it finishes, for example "Nadir applied to 32 stops".
The right workflow: perfect the patch on one point (image, preset, size), then push it everywhere with this button. Per-point changes made afterwards still stick, so you can give the lobby a different disc or Clear one point without disturbing the rest. No original photo files are changed at any step.
Revert to tour default throws away the open point's patch override and stamps the tour default patch back onto it. The tour default is whatever patch was last saved with Apply to all points. After the re-bake, a toast confirms "Reverted to tour-default nadir".
If no tour default has ever been saved, the button cannot restore anything, so it asks whether to clear this point's patch entirely instead. Confirm to remove it, or cancel to keep what you have.
Reach for this after experimenting on a single point: you tried a different disc or size, decided against it, and want the point matching the rest of the tour in one click instead of rebuilding the settings by hand.
Back closes the Nadir Patch drawer and returns you to the main left rail. Nothing is discarded: every upload, preset, size change and apply-to-all was saved the moment you made it, so closing the drawer is always safe.
Click it when you are done with floor patches. Opening the drawer again later lands you right back on the open point's current patch settings. Note that opening the drawer switches the editor to the 360 view automatically, since the patch only makes sense while looking at the photo.