Retouching work is fundamental to every 360° panorama we produce. Each panorama goes through a series of standard retouching processes to make sure it looks great, and then though a series of individually tailored retouching processes to make it look even better. Whilst retouching work may be time consuming, it will make your virtual tour stand out from the crowd and attract more clients.
Our standard retouching processes include stitching error correction, colour balance, exposure and HDRi (High Dynamic Range imaging) work, dodging, burning, noise reduction and sharpening. Additional retouching processes range from a simple 60 minute process to removed unwanted items, marks or blemishes, through to more involved retouching work that can take a day or more to complete. Below are are few case studies where you can see examples of our work before and after the retouching process.
Case Study 1: Bayfordbury Observatory, University of Hertfordshire
As part the of the University of Hertfordshire virtual tour we photographed the Observatory at Bayfordbury. At our own suggestion, the interior 360º panorama of the Marsh Telescope was retouched to appear as though it had been photographed at night. Retouching work included the removal of unwanted items from the scene, such as labels and cables on the telescope to make a cleaner, more appealing and engaging panorama.
Case Study 2: Rochdale Town Hall
The Council Chamber at Rochdale Town Hall posed a number of challenges when creating a 360º panorama. The lighting was less than satisfactory with the balcony area being very dark, whilst the only natural light came through the stained glass windows. Careful use of HDRi created a balanced look throughout the scene, highlighting details such as the stained glass windows and detail in the ceiling. The room and furniture was also suffering from wear and tear, all of which needed skillful retouching work to make the room look its best.
Case Study 3: Goldsmiths’ Hall
The Exhibition Room at Goldsmiths’ Hall is paneled in beautiful English walnut and the large double doors contain panels of Australian walnut. When photographed under natural lighting conditions, the daylight from the windows introduced a strong blue colour cast into the scene whilst the chandelier and exhibition cases created a yellow colour cast. When colour balancing the panorama, the dominant blue colour cast from the windows overpowered the soft warm colour of the walnut paneling, and the result was an unappealing, murky colour cast.
By selecting the walnut paneling and isolating it from the rest of the panorama we were able to restore the natural, rich warm colour of the wood so the room looks as glorious in the panorama as it does when visiting in person. Similar selections and retouching work were also carried out on the carpets, display cases, chandelier and ceiling.