What your visitors experience.
The disc is how visitors move, the same instinct as Google Street View. It rides the ground under the mouse, its arrow turns orange when aimed along an available path and grey otherwise, and a click walks there. Small teal compass dots around the ring hint where the other paths lead, so visitors always know their options without any icons cluttering the scene.
Navigate lists every destination you published. A visitor picks one and the tour walks them there step by step, along the exact paths you drew, with the guidance disc marking the way at each stop.
The ⓘ Info pill opens the tour’s details, the name, description, and location you set. The Tutorial pill replays the guided walkthrough of the controls whenever a visitor wants it. Both live quietly in the header, the panorama stays clean.
Points of interest are pins you place inside a photo that open rich content, text, photos, video, links. Perfect for amenities, unit details, or history. They wear the built-in icon set or your own uploaded icons.
The Points of Interest folder sits in the right rail and lists every point of interest that is not filed under a group. There is one row per tag, no matter how many photos that tag appears on, so the folder reads as a clean inventory of what you have built rather than a list of every pin you have dropped. It appears as soon as you make your first point of interest.
Each row shows the tag's icon, its name, and either the point that hosts it or a count like "5 points" when it has been placed in several photos. Clicking a row jumps to that point and opens the tag's options, so the folder doubles as the fastest way to find and edit something you made an hour ago. Every row also carries a Destination switch, and you can drag a row onto the photo to place the same tag on the open point.
A tag you file under a point group, using In the menu and Show it under in its options, moves out of this folder and sits under that group in the Points list instead, with the same row and the same Destination switch. If a tag is not in the folder, look under its group.
Dragging a row from the Points of Interest folder onto the open photo places that same tag again on that photo. It is not a copy, it is the same point of interest showing up in a second place.
Content is shared and position is per placement. The title, icon, colour, text, image, video and link belong to the tag itself, so editing any of them updates every placement across the tour instantly. Where each pin sits inside its own photo is remembered separately, which is exactly what you want: the same restroom marker can sit on the door in one photo and off to the left in another.
This is the difference between one marker and fifty near duplicates. Build the wifi tag once, with the network name and the password in the text, drag it onto every photo where a guest would ask, and when the password changes you edit it in one place.
The Destination switch on a folder row promotes a point of interest into a place a visitor can ask to be taken. Turn it on and the tag appears in the tour's Navigate menu, listed under a group called Points of Interest, alongside the other places a visitor can jump to.
Picking it routes the visitor to the point that hosts the tag, and if the tag has been placed on several points, the tour routes to the nearest one the paths can actually reach. On arrival the photo eases around to face the tag, so the thing they asked for is in front of them rather than behind them. No extra point is added to the map, because the tag lives inside a photo that already has a point of its own.
Turn this on for the handful of things people ask for by name: the office, the bathhouse, the dump station, the gym, the chapel. A Navigate menu with six real answers in it is worth more than one with forty entries nobody reads.
Back closes the Points of Interest drawer and turns editing mode off. Your pins stay on the photo, everything you did is already saved, every change in this drawer saves as you make it.
With the drawer closed the pins become preview-only: clicking one opens its content pop-up exactly as a visitor sees it, and pins can no longer be dragged, edited, or deleted until you reopen the drawer from the left rail.
Closing the drawer is actually the best way to test your work: click each pin and read the pop-up as a visitor would.
The status line at the top of the add view tracks the placement flow. Idle, it reads: pick a pin icon below, your cursor becomes that pin, then click the photo to place it. Once you click an icon it switches to Placing, and reminds you: click the photo to drop your pin, right-drag to aim, Esc to cancel.
If you feel stuck mid-placement, read this line, it always states the next step. Esc always backs you out without placing anything.
The Tags tab of the Points of Interest drawer is where you pick the shape your pin will use. It holds 618 icons sorted into 29 categories, including General, Amenities, Places, Camping & RV, Utilities & Hookups, Restrooms & Bath, Food & Drink, Water & Waterfront, Playground & Kids, Nature & Trails, Safety & Emergency, Wedding & Ceremony, Transportation & Parking, Accessibility and Wayfinding & Signage. The grid scrolls inside the menu and fills all the way to the bottom of the drawer.
Picking an icon arms it. A ghost pin follows your cursor, the cursor turns into a crosshair, and one click on the photo drops the pin exactly where you clicked. Right-drag aims, so you can turn the view to the part of the photo you want before you place anything. Press Esc to cancel and put the crosshair away.
Pick the icon that reads at a glance from across the photo rather than the one that is technically most correct. A visitor scanning your campground loop sees a shape before they read a word, so a shower glyph on the bath house and a fire glyph on the fire ring do more work than a generic marker on both.
The search box sits above the icon grid and is the fastest way through 618 shapes. Type what the thing is called and the grid narrows as you type. It matches an icon's name, its synonyms and its id, so the word in your head usually lands even when it is not the word we used.
That synonym matching is the part worth knowing. Typing washer, dryer or laundry all find the right glyphs, because each icon carries the other things people call it. If a word comes back empty, try the plainer version of it: the building, the activity or the object, rather than the brand or the local nickname.
For anything you can already name, searching beats browsing. Type the word, take the shape that reads clearly at pin size, and keep moving down your list of stops.
Next to the search box is a small square funnel button, the same control the Points list uses. Press it and a dropdown of the categories opens, each with a count beside it so you can see how many icons are in there before you commit, and a tick marking whichever category is active. A dot on the funnel button tells you a filter is on, which saves the confusion of wondering why the grid looks short.
Filtering is the right move when you are furnishing one kind of place and want to work through it in a single pass. Open Camping & RV and place your hookups, dump station and fire rings. Open Restrooms & Bath and do the bath houses. Staying inside one category while you work keeps you from mixing styles by accident.
Use the search box when you know the word for the thing you want. Use the funnel when you are browsing for the shape that fits.
The Uploads tab is the third tab in the drawer, and it holds the artwork you bring yourself. The upload button is the blue one. Each icon you have uploaded carries a small remove button, so clearing out an old logo or a shape that did not work takes one click. When an upload finishes you are dropped back on the Tags tab with the new icon already armed, ready to click onto the photo.
Uploads are SVG only, and every file is sanitized on the way in: scripts, event handlers and embedded styling are stripped before the icon is stored. Files over 60 KB, or files that are not genuinely SVG, are rejected with a message telling you so. These icons end up inside published tours that strangers open on their own phones, so nothing arbitrary is allowed to ride along.
Simple, bold, single colour shapes read best at pin size. A detailed mark with fine lines and several colours turns to mush at the size a pin actually renders, so if you are bringing your own, bring the simplified version of it, the one you would put on a sign.
Add another tag deselects the pin you are editing and returns the drawer to the pick-an-icon view, ready to place the next pin on this point.
Nothing is lost: every edit you made is already saved. Use it to work in a rhythm, place, fill in, add another, until the point is done. The pin you just left is one click away in the list at the bottom.
Title is the name of the point of interest. It is the label on the tag's row in the Points of Interest folder in the right rail, and, when you switch it on, the name that shows next to the pin out on the photo.
A tag's content is shared across every photo it sits on, so renaming it renames it everywhere at once. There is no separate name for one placement, and editing the tag updates every placement across the tour instantly.
Short, literal names work best. Bathhouse, Site 42, Camp Store, Main Office: enough to tell one row from another at a glance when you are scrolling the folder looking for the one you want to edit.
Show title on the pin decides whether the title travels out onto the photo with the icon. Turn it on and the name shows next to the pin where a visitor can read it without doing anything. Leave it off and the tour shows the icon by itself.
Off does not discard the title. It is still the row label in the Points of Interest folder, it is simply your own reference rather than something the visitor sees on the photo. Nothing else about the tag changes.
Pins with names attached crowd a scene quickly, especially in a wide open shot with a dozen tags in it. Turn the title on for the handful of things a first-time visitor is actively hunting for, restrooms, office, check-in, and let the rest speak through their icons.
On the Content tab, Pin icon shows a chip with the icon the point of interest is using now, plus a Change icon button beside it. Pressing Change routes you back through the same grid on the Tags tab, with the same search box, the same funnel and the same Uploads tab. There is one icon library in the product and every path leads to it, so there is nothing new to learn when you swap a shape.
A point of interest is one thing no matter how many photos it appears on, and its content is shared across every placement. Change its icon and every placement of that tag across the tour updates instantly. Only position is held per placement, so moving a pin in one photo does not move it anywhere else.
That makes late changes cheap. If you decide halfway through building that all your hookup pins should carry a different glyph, or you finally upload your own mark and want it on the office, you change it once on the tag rather than hunting down every photo you placed it in.
Bubble colour sets the colour of the pin out on the photo. It uses the app's standard colour palette, the same preset swatches and the same custom picker you get everywhere else in the editor, so a tag can be matched to the rest of the tour without hunting down a colour code.
Colour belongs to the tag, not to a placement. If the same tag is dropped on five different photos, changing its colour changes all five instantly. That is usually what you want, and it is worth knowing before you go looking for a per-photo override that does not exist.
Treat colour as a category rather than decoration. One colour for amenities, one for anything a guest has to pay for, one for staff-only or off-limits areas reads clearly. If every tag is a different colour, nothing stands out and the whole scheme stops meaning anything.
Reset to default sits with the colour controls and puts the pin back on the theme accent, the colour the rest of the tour already uses. It clears whatever you chose, whether that came from a preset swatch or the custom picker.
It affects the tag you have open, and through that tag every placement of it. It does not touch any other point of interest in the tour, so there is no way to accidentally undo a whole colour scheme with one press.
The default is a genuinely good answer for most tags. A pin left on the accent is tied to the tour's own colour rather than pinned to one fixed value, so leaving the ordinary tags alone and colouring only the ones that need to stand out keeps a tour looking deliberate.
Tag style gives the pin two looks, Filled or Stroked. Filled is a solid bubble in your chosen colour. Stroked is a coloured ring with the coloured glyph inside it, sitting on a dark scrim.
Both use the same colour and the same icon, so this is purely how loudly the pin announces itself. Filled is the heavier of the two and holds up against bright sky, snow or pale gravel. Stroked is quieter and tends to sit better over dark or busy scenery where a solid blob would look like a sticker.
The setting belongs to the tag, so you can mix the two across a tour, and that mix can carry meaning: filled for the things you want a visitor to notice on arrival, stroked for the supporting detail they will find when they slow down and look around.
Text switches on the written part of the pop-up. It is the paragraph a visitor reads, and it is what most points of interest are really for: the detail that a photo alone cannot tell anyone.
Whatever else the tag carries, the text renders last, underneath the image, the video and the link. That makes it read as the explanation of the things above it rather than an introduction to them, so it is worth writing in that order too.
Write it for somebody standing exactly where that photo was taken and looking at the thing you tagged. Hours, prices, what is included, what to bring, who to ask. Two or three sentences is usually the whole job, and a visitor on a phone will thank you for stopping there.
Image puts a picture at the top of the pop-up, and there are two ways to supply one. Use the Upload an image button to send a file from your computer or phone, or paste the address of an image that already lives on the web.
An uploaded image is re-encoded before it ever leaves the browser. It is resized to 1600 pixels on the long edge and saved as a JPEG, which happens on your own machine, so a full resolution phone photo does not bloat the tour or punish visitors on a weak signal. There is also a field called Clicking the image opens: put an address in it and the picture itself becomes a link, opening in a new window so your tour stays open behind it.
That link field is the quiet workhorse. A photo of the pavilion that opens your booking page, a shot of the menu board that opens the real menu, a picture of the classroom that opens the enrolment form. The visitor taps the thing they are already looking at, which is a far shorter path than reading a paragraph and hunting for a link.
Video plays a clip inside the pop-up. Paste a YouTube address, a Vimeo address, or a direct address ending in .mp4, and the tour plays it where a visitor can watch without leaving the photo.
There is no video upload, and that is a deliberate limit rather than a missing feature. One decent clip runs to hundreds of megabytes and has to be transcoded before it will play reliably on every phone, tablet and laptop a visitor might arrive on. YouTube and Vimeo already do that work for free, so the tag points at the copy they host instead of the tour trying to carry its own.
In practice that means putting the clip on your own YouTube or Vimeo account first, then pasting the address here. If you would rather it not turn up in search, upload it as unlisted on their side, and the tag will still play it perfectly well.
Link adds a button that sends a visitor somewhere else: a booking engine, a rate sheet, a menu, a district calendar, a rental agreement.
Paste the address in the Link field and the pop-up carries an Open link ↗ button to it. It opens in a new window, so your tour stays open behind it.
Because the button carries your address and nothing about the page behind it, write the tag's title and text so a visitor knows where the button goes before they press it. A page on your own website usually beats a deep link into a booking system.
B bolds the text you have selected in the description editor, or starts bold text at the cursor. Click it again on bold text to un-bold. The change saves immediately.
The toolbar is built to keep your selection: clicking a button never deselects your text. Use bold for the few words that matter, prices, warnings, names, not whole paragraphs.
I italicizes the selected text, or starts italics at the cursor; click again to remove. Saves immediately.
Italics read well for asides and qualifiers, seasonal, weather permitting, reservations recommended. On small screens long italic passages are harder to read, keep them short.
U underlines the selected text; click again to remove. Saves immediately.
Use it rarely. On the web an underline reads as a link, and your pop-up can contain real links; underlined plain text will get tapped and disappoint. Bold is almost always the better emphasis.
• converts the current line, or every line in your selection, into a bulleted list; press Enter to add items, and click the button again to convert back to plain paragraphs. Saves immediately.
Lists are the best format for amenities, rules, and what-to-bring items. Three to seven short bullets beat a paragraph every time in a pop-up.
1. converts the current line or selection into a numbered list, Enter adds the next number, clicking again converts back. Saves immediately.
Reach for numbers only when order matters, check-in steps, directions, a ranked list. Otherwise use bullets; visitors read numbered lists as a sequence to follow.
The A swatch opens a color picker and applies the chosen color to the selected text in the description. Saves immediately.
Colored text does not adapt to the viewer's light or dark theme, a dark red that looks sharp on white can vanish on a dark background. Use it for a word or two at most, and test the pop-up with Preview before shipping.
Insert link asks for a URL and turns your selected text into a link to it. Select the words first, then click the button and paste the address; URLs typed without https:// are corrected automatically. Saves immediately.
This puts links inside your text, useful when a Text tag needs one or two references. If the whole tag's purpose is sending visitors to a site, the Link content kind with its preview card is the stronger tool.
Insert image asks for an image URL and drops that picture into the description at your cursor. The URL must point directly at the image file; addresses without https:// are corrected. Saves immediately.
Use it to mix a small picture into flowing text. For one hero image, the Image content kind presents it larger and cleaner. Remember the image loads from that URL every time, if the file moves, the pop-up shows a broken picture.
turns the current paragraph into a preformatted monospace block, fixed-width characters with spacing preserved exactly as typed. Saves immediately.
It is handy for anything where alignment or exact characters matter: a gate code, a wifi password, coordinates. Keep the block to those short snippets, and write your normal paragraphs before or after it rather than inside it.
⌫ removes styling, bold, italics, colors, and the rest, from the selected text, returning it to plain paragraph text. Saves immediately.
It is the fix for messy pasted text: paste from a website or document, select all of it, clear, then re-apply only the formatting you actually want.
The description area under the toolbar is the body of the pop-up. Type or paste; every keystroke saves. The placeholder asks you to describe what's here.
What you write renders safely in tours: scripts and active content are stripped automatically, and plain text keeps its line breaks. On Image, Video, and Link tags the description renders below the media in the same pop-up, so you can caption a picture or add context under a player.
Write for someone standing at that spot on a phone. Two or three short paragraphs or a bullet list; use Preview & resize to see exactly how much fits comfortably.
Each content part carries its own address field, so a tag that is a photo and a link keeps the two apart. The field labeled Link takes any web address.
Image has its own field under the upload button, plus a second one labeled Clicking the image opens for where a tap on the picture should go. Video has its own field, which takes a YouTube, Vimeo or direct .mp4 address. Every one of them saves as you type.
An address without a scheme is corrected for you when the tag renders, so www.example.com opens as https://www.example.com. Always paste, never retype, a long URL. One wrong character is a broken pop-up, and the field cannot know the difference.
Content is four independent switches, Text, Image, Video and Link. They are not exclusive. One point of interest can be a photo and a video and a link and a paragraph all at the same time.
The pop-up composes whatever you switch on in a fixed order. The image comes first, then the video, then the link, then the text underneath all of it. That order does not change, so write the text knowing it is the closing note rather than the opening line.
Most good tags use two of the four. A campsite tag might be a photo of the pad plus a paragraph listing the hookups. A pavilion tag might be a photo plus a link straight to the booking page. Reach for all four only when the thing genuinely deserves that much of a visitor's attention.
Open on arrival is a switch on the Content tab. When a visitor reaches this tag by choosing it as a destination, the pop-up opens itself once the photo has finished turning to face the pin, so the answer is on screen without the visitor having to work out that the small icon is the thing to touch.
It applies to that arrival. A visitor who wanders into the same photo on their own still opens the pin the normal way. The gentle presentation spin carries on behind the open card, so the scene keeps moving while they read.
Use it on the tags that carry real information: hours, rates, a check-in phone number, a short video of the room. If someone went to the Navigate menu and asked to be taken to the pool, they have already told you what they want to know, so show them.
Hovering a pin opens its pop-up. That is a rule of the tour rather than a setting, so there is nothing to switch on and nothing a visitor has to be told. Moving the cursor onto the icon is enough.
The pop-up does not darken or blur the tour and it never blocks the photo, so the visitor can still drag the view around with a card open. Leaving the pin does not close it either, which is deliberate: it lets the visitor move onto the card, read it and follow a link without the thing vanishing under them. It closes on a click anywhere, or once the visitor has moved onto the card and back off it again, and Escape and the close button also work.
On a phone there is no hover, so a tap on the pin opens it and a tap anywhere closes it. Write your tag text so it works either way, short enough to take in at a glance on a small screen, with the image, the video or the link doing the heavy lifting.
Preview & resize the pop-up opens the selected tag's content panel, the exact same pop-up a visitor gets, with a resize handle enabled. Drag the card's corner to the size you want; the width and height save onto this tag automatically a moment after you stop dragging, and the tour opens the pop-up at exactly that size from then on.
Close the preview with the ✕, by clicking the dark backdrop, or with Esc. A tag you never resize uses its natural size, which is a fine default.
Preview every tag that carries media. A vertical photo, a wide video, and a link card all want different card shapes, and this is the only place you can see and set them.
Delete tag removes the selected pin from the photo and the list, immediately. Be aware: there is no confirmation dialog and no undo for this, the deletion saves the moment you click, and the toast simply reports Point of interest removed.
If you delete the wrong pin, you rebuild it: place a new pin, retype the content, re-set the size. So click this one deliberately.
The same instant delete also lives on each list row's trash and on right-clicking a pin on the photo while the drawer is open. All three are equally final.
The number in the list heading counts the pins on the point you have open. Each point carries its own independent set, so the counter changes as you move between points.
Use it as a sanity check while authoring, and as a restraint: a point with more than four or five pins starts to feel like a bulletin board. Spread information across neighboring points instead.
The list at the bottom shows one row per pin on the open point: its icon in a colored disc, its title (Untitled hotspot when you have not named it yet), and a trash button. The row of the pin you are editing is tinted.
Click a row to select that pin: it loads into the editor above and highlights on the photo with a ring. This is the fastest way to hop between pins without hunting for them in the panorama, especially pins currently rotated out of view.
Sweep the list before you finish a point: any row still reading Untitled hotspot is a pin you have not filled in.
The trash button at the end of a list row deletes that pin, instantly and permanently, the same as the big Delete tag button. No confirmation dialog, no undo; the removal saves immediately.
It is the quick way to clean up several pins in a row. Just read the row title before you click, the only recovery is rebuilding the pin by hand.
While the Points of Interest drawer is open, every pin on the photo is live. Click a pin to load it into the editor. Drag a pin to move it; it follows your cursor across the panorama and the new position saves the moment you release. Right-click a pin to delete it, instantly, with no confirmation. Hovering a pin shows a tooltip repeating exactly these three actions.
Pins are anchored to a direction in the panorama, not to the screen: as you spin the view they track their spot, and a pin whose spot rotates behind you hides until it comes back around.
With the drawer closed, pins are visitor-mode: clicking one opens its content pop-up, and moving or deleting is impossible. That gate is deliberate, you cannot damage placed pins while just browsing.
Back closes the Point Tags drawer. Everything you placed is already saved, placements save as they happen.
Closing the drawer locks the tags on the photo: they can no longer be dragged, spun, or deleted until you reopen the drawer from the left rail. That is a standing law of the editor, tag editing only ever happens with this drawer open, so casual browsing can never move a tag you placed carefully.
One thing never locks: clicking a tag always travels to its point, drawer open or closed, exactly like the tour.
This line reads Tags for, followed by the open point's name. The list below always belongs to the point you currently have open in the viewer, and this readout is your confirmation of which one that is.
When you click through to another point, the readout and the whole list follow. If you are about to place tags, glance here first, placing from the wrong point's list is the classic mistake this line prevents.
Each row is a point you can tag from here, and the drawer reads the map to build the list. Your drawn travel paths come first as true road neighbors (labeled Trail, To trail, or Branch). Then come the logical next points in every walkable direction, points you could walk toward with nothing meaningfully in between, within about 400 ft, labeled Route with the distance in feet. The previous and next points in walking order are always offered. Added rows are targets you added by hand, and rows marked with the ⤳ TRAVEL PATH badge were auto-created by a Travel Waypoint path and show just their endpoint pair, like 41-59. Waypoints and points with no map position never appear.
A row shows the navigation disc, because every point wears the same tag glyph in the editor, then its name, then its state: placed ✓ when the tag is in the photo, otherwise the hint to drag it in or face the target and tap ◎.
Rows are informative before you ever place anything. Hover one: the point lights up on the map, the map centers on it, and a spinning 360 preview opens so you can confirm exactly which spot it is. Click one: the photo spins to face that point at its true map bearing, and if its arrow is already placed, the arrow snaps to that bearing too. If the photo has no usable direction yet, the click tells you so, place one tag by hand first and row-clicks will aim true after that.
Any unplaced row can be dragged straight into the photo. The drag ghost is the real tag at its placed size, same icon, same floor perspective, so what you see under your cursor is exactly what lands. Drop it where that point actually is in the picture, on the ground at the doorway, at the trailhead, and the tag is stamped there.
Placement is the whole authoring model: tags appear only where you put them, nothing is auto-placed, and dropping one tag never moves another. Each placement also teaches that photo its sense of direction, the calibration that row-clicks and the map arrow aim by, so your first few placements make every later one easier.
Aim for the floor where a visitor's next step would be. If dragging is awkward, there is a no-drag alternative: spin the photo to face the target and tap the row's ◎ button.
Once a tag is in the photo its row shows a green placed ✓ and locks against dragging, you cannot accidentally place the same tag twice.
To move a placed tag you have three tools: drag the tag itself on the photo (drawer open), tap the row's ◎ to re-aim it to wherever you are currently facing, or click the row to snap it to the target's true map bearing. To take it out of the photo entirely, use the row's ✕.
The lock only freezes the row, not the tag. Everything about the tag stays editable while this drawer is open.
◎ places the row's tag exactly where you are facing right now: spin the photo until the target sits at center, tap ◎, and the tag lands on the ground just ahead, at the standard floor tag height. It is the same result as a drag-drop without the drag, and it also calibrates this photo so its map arrow locks exact.
On a row that is already placed, ◎ re-aims: the existing arrow moves to your current view and nothing else about it changes. That makes it the fastest fix for an arrow pointing slightly wrong, face the true direction, tap.
Placing also wires the route: the two points are connected both ways, and the other point's list gains a row for this one, a list row only, you still choose where (and whether) to place the return tag by hand. The button needs the photo loaded; if the viewer is empty it will tell you to open the photo first.
Each row carries a switch, and a badge beside it reading Auto or Manual. Auto means the editor already knows the direction and can drop the tag for you. Manual means it does not know yet.
Hand-place ONE tag first, by drag or the row's ◎. That teaches the photo its direction, and the badge on every other row flips to Auto. Flip a row's switch on and its tag lands at the true direction of that point, the photo spins to face it so you can judge the placement instantly, and the map draws the connector line the same moment. Flip the switch off and the tag comes back out, tag and line together, whoever placed it.
A row whose badge still reads Manual has nothing to calculate from, and says so: face that point in the photo, then flip its switch, and the tag drops where you are looking. Rows the editor must not touch, a travel-path tag or one you already aimed by hand, show their switch disabled with the reason on it. The Place all link places every unplaced row at once, and Remove auto placed clears only what automation placed, never your tags.
✎ opens the tag card for that row's point, headed Tag for and the point's name. Every point wears the navigation disc as its floor tag, destinations included, so the card is a readout rather than a picker: it shows the disc and names the group the point belongs to.
If the point is in a group, the card carries a button that opens that group's settings. If it is not in a group yet, the card says so and tells you to add it to one in Properties.
Points of interest are the visual layer. If you want a shape or an icon on the photo itself, place a point of interest, not a floor tag.
✕ appears on placed rows and on rows you added by hand, and it does the matching removal. On a placed row it takes the tag out of the photo; the map lines refresh immediately, they always mirror what is actually placed. On an Added row that was never placed, it removes the row from the list.
One special case: removing a ⤳ TRAVEL PATH tag from the photo does not kill the link, the row returns to being a draggable candidate, because the connection belongs to the travel path and exists as long as the path does. Delete the path itself if you want the link gone.
There is no confirmation on ✕, but un-placing is low-stakes: the row stays in the list and one drag or ◎ puts the tag back.
Add tag… opens a popup listing every numbered point in the tour that is not already in this list, in number order. Pick one and it joins this point's tag list as an Added row, ready to drag in or place with ◎.
Adding creates a list row only, nothing appears in the photo until you place it. Remove an added row you did not use with its ✕.
Reach for it when the map's suggestions are not enough: a shortcut across the property, a jump between areas, or any tag target the geometry would never guess.
The search box at the top of the Add tag popup filters the list live as you type, matching anywhere in a point's name, case does not matter. Clear it to see every point again.
The field focuses itself when the popup opens, so you can just start typing the name. On a tour with dozens of points this is much faster than scrolling.
Each row in the popup shows the point's tag icon and name. Click one: it is added to the open point's tag list as an Added row and the popup closes.
Nothing is placed yet, the new row waits in the list with the same drag and ◎ options as every other unplaced row. If you clicked the wrong one, its ✕ in the list removes it cleanly.
The ✕ closes the Add tag popup without adding a point. Clicking the dark backdrop around the card does the same.
Closing changes nothing, points you already added in this visit stay in the list, points you did not click are not added.
On a point's tag card, this button opens the settings of the group that owns the point, closing the card on the way. It only appears when the point is in a group, and it carries that group's name.
Group settings is where you rename the group, change its color, nest it inside another group, and add or remove its points. It does not style floor tags: every point wears the navigation disc in the editor, and points of interest are the visual layer visitors read.
The ✕ closes the tag card. Clicking the dark backdrop does the same. The card is informational plus one navigation button, so closing it never discards anything.
If you came here wanting to change an icon, the path is: open the group's settings (button on this card) and change it there.
While the Point Tags drawer is open, every placed tag in the photo is live. Drag a tag to move it; it follows your cursor across the panorama and the new position saves the moment you release. Right-click a tag to delete it, and this one asks for confirmation first, because an accidental right-click should never nuke a placement.
For distant targets, aim with the satellite map: once this photo knows its direction, the open point's dot becomes an arrow that turns as you spin the photo, and a dashed orange ray shoots from it across the map along that exact bearing. Put the ray on a faraway building or point, then tap the row's ◎, and the tag lands true.
Close the drawer and all of this switches off, tags become click-to-travel only, exactly what a visitor gets. Tapping a tag walks to its point in both modes.
The middle ground between wiring everything and drawing every path yourself. Stand on a point, open Point Tags, press Auto-connect this point, and the connector proposes connections for this one point only, from GPS geometry, placing its floor tags for you.
Nothing else in the tour is touched. Paths you already made are never removed or rewired, and keep-out zones are honoured. If the guesses land wrong, remove one the usual way: the connection chip, or the scissors on the map.
It shines on outdoor points with clean GPS: arrive, press once, check the arrows, move on. Indoors, trust your own eye instead; the drag-and-drop tag placement in this drawer is the truth the connector is only guessing at.
In a layered tour, visitors see one location at a time: its points, its arrows, its paths, and its property maps. A tour with more than one location opens on its Locations page: one photo card per location, each showing its name, how many areas and points it holds, and a Visit › pill. The card for the location the visitor is standing in wears You are here instead. Tap a card and the whole tour switches to that location, the map cross-fading to its floor plans.
Doors: a floor tag that leads to a point in another location switches the whole tour there the moment the visitor arrives, no loading screen, the map fading to the new world. Arrival always follows the point's own location, so a point you granted onto another location is visible there but still carries the visitor home to its own when they walk onto it. The Points button on the bottom bar reopens the Locations page any time.
A share link can open on a chosen layer: add ?layer= and the layer's name to the tour link, and it opens there at that layer's first point.
When a visitor plans a route, it may only use the start layer and the destination layer. A trip inside one layer stays entirely on it, even when doors could offer a shortcut through another. A trip to another layer walks its own layer to a door, then the destination’s layer beyond it.
If no door connects the layers yet, the planner says the destination is not reachable, honestly, instead of inventing a path. The owner’s show-all switch lifts the rule along with the filter.
On phones, the Layers section on the main dash page switches layers the same way as desktop, and walking through a door switches automatically.
An SVG file is a drawing stored as shapes rather than as squares of color, so it stays sharp at any size. That is why the uploader takes it and nothing else: the same file has to read as a small pin and as a large one. Its file name ends in .svg.
A PNG and a JPEG are pictures made of squares. They go blocky when a program stretches them, so both are refused, along with any file that will not read as real SVG. You get a message either way.
There are three ways to get one. Ask the client's designer, because the file exists wherever the logo was drawn. Ask whoever prints their signs. Or open a free icon site and download the SVG version rather than the picture. Keep it under 60 kilobytes, and keep the drawing flat and bold.
The drawer has three tabs across the top, and the first name misleads people. Tags is the icon library. You pick the shape your pin will wear there, under the heading Choose a pin to place. It does not list the pins you have already made.
Content is the pin you have open: its title, its bubble color, its four content switches, and the words a visitor reads. Uploads is your own artwork, under Your icons, for when no built-in shape says the right thing.
To see the pins that exist, read the Points of Interest folder in the Points panel on the right. So the order of work runs left to right. Pick a shape on Tags, place it on the photo, then fill it in on Content.