Splat Edit Mode

The mode that works on the individual points (splats) that make up your 3D — erase artifacts, move parts, paint colors, sculpt shapes and assign materials. The right sidebar switches to the Select · Paint · Clone stamp · Adjust · Grab · Lattice · Puppet pin · Collider · Material · Color · Inpaint · Subdivide tabs (the sections below follow the same order), and a bottom toolbar appears with undo, save and version.

Most tabs act on what you selected first in the Select tab. The brush tabs (Paint · Adjust · Grab) work without a selection too, but when there is one they apply only inside it.

Top-bar display toggles

In Splat edit mode the top bar gains three display toggles that no other mode has. They change nothing in the data — only what is drawn on screen — so flip them on and off freely while you work.

Show Selected (Z)

Turns the yellow highlight on selected splats on and off. The selection itself stays intact while it is off. Apply color grading or paint to the selection, switch the highlight off for a moment to judge the result in the true colors, then switch it back on and continue. Especially useful when the yellow tint makes color decisions hard.

Show Points (X)

Marks each splat's center with a dot. Splats are ellipses of varying size, so color alone hides where the points are and how many there are; the dots reveal the distribution and density. Areas with almost no color but scattered dots are transparent ghost splats or noise — select and delete them. Areas lumped into a few large splats show sparse dots, marking them as candidates for subdivision. It is also the most intuitive way to compare before and after subdividing.

Show Rings (V) and visibility rings

Draws each splat as a thin ring. Where dots show only position, rings show size and orientation too, and you can click a ring to select exactly one splat (toggle ring select F). In the default visibility ring mode:

• Ring size matches what actually shows on screen — opaque splats get large rings, faint ones small rings
• Splats contributing less than ~5% are not drawn and cannot be selected
• One-sided splats viewed from behind lose their ring too

In short: click a visible ring and you select exactly that splat. To hunt down invisible ghost splats instead, turn the vis toggle off for covariance mode, which shows every ring.

Select tab

Where every edit starts (select mode S). Once you select, the view and the panel show:

• Selected splats highlighted in yellow (toggle the highlight with Z)
• A bounding box drawn around the selection in the viewport. It stays aligned to the world axes even when the item is rotated, so you can see the extent and rough size of the selection at a glance
• Selected: n at the top of the tab with the point count, and the total / selected point counts on the splat entry in the left outliner as well

A selection is not an end in itself — it is the target for what comes next. Keep it and switch tabs, and that tab's feature applies to the selected area: the Color tab grades only the selection, the Material tab's "Apply to n selected", the Inpaint tab's "Inpaint selection", the Subdivide tab and Clone stamp all work on the current selection, and in this tab Transform moves just the selection while Delete (Delete) removes it. The brush tabs — Paint, Adjust, Grab — also work only inside the selection when one exists. Brushing past the edge changes nothing outside, so set the range with a selection first and you can brush freely without worrying about the boundary. With no selection, they apply wherever you brush.

Selection tools and combine mode

• Brush (B) — paint over splats to select them; brush size with Shift+wheel or [ ]
• Rectangle (T) · Lasso (L) · Polygon (P) — draw a region to select at once
• Selection mode — how a newly drawn region combines with the existing selection: 1 set · 2 extend · 3 subtract · 4 invert · 5 intersect
• Quick actions — select all/deselect (A) · invert (Ctrl+I) · delete selected (Delete)

Selection filters and auto-select

• Selection filter settings — enable the opacity or scale filter, set a min/max range and press Filter current selection to keep only the splats that match. E.g. "keep only opacity ≤ 0.1, then delete"
• Material auto-select (AI) — clusters splat colors and shows a chip per material. Click a chip to select that color cluster, optionally adding to the existing selection. Handy for part-based selection such as "just the label" or "just the sole"

After selecting

Things you can do directly with the selection.

• Transform — move, rotate and scale only the selection, with the gizmo or by value. Turn on proportional editing below and the surroundings follow
• Clone selected · Stamp — copy the selection and place it elsewhere → Clone stamp tab
• ROS material (sidedness · normals) — on 4.0/4.01 and packed-SH 4.x items, fixes directional properties: Flip normals (inside-out regions that look like holes), Make double-sided (visible from every angle — the quick fix for a hollow-looking back), Clear anisotropy (angle-dependent glints), a sidedness slider (0 = double, 1 = single) and Show normals to check the result
• LOD base/detail — on LOD items, relabel the selection as base (always shown) or as detail (close-up only). Hide detail edits with only the base layer visible; Show detail again restores it
• Detach splats — Detach selection turns the selection into a separate part you can move and rotate independently from the left outliner (e.g. keep a lid open). The original file is untouched; saving merges everything back while keeping the part info. Reattach undoes it

Proportional editing (proportional / falloff)

Moving only the selected splats leaves a visible seam at the boundary. Raise the amount under Proportional / Falloff above 0 and nearby splats outside the selection move along with it, weaker with distance, so the edge blends naturally. Use it to tug a section of fabric or lift a dented spot slightly.

• Amount — how far beyond the selection boundary splats still follow. 0 moves the selection only
• Falloff curve — how the influence fades with distance: Smooth (gentle roll-off, default) · Linear (even) · Sharp (drops quickly near the boundary) · Const (full strength everywhere inside the range)
• In the viewport the selection is yellow and the surrounding splats inside the range are tinted differently, so you can preview what will follow

Paint tab (D)

Tints the splats you brush over. Set the paint color, intensity and brush size, then drag. A low intensity lets you build the color up gradually with repeated strokes. For precise color changes on one part, selecting it and using the Color tab usually looks more natural than paint.

Target range (shared by Paint · Adjust · Grab)

Decides how deep the brush reaches when it touches the surface. The most important setting when dealing with overlapping geometry; the Adjust and Grab tabs have the same section.

• Projection — ignores depth and occlusion and affects every splat projected under the brush. For treating hidden splats behind the surface in one go
• Depth — from the first splat hit, only those within the given depth range. For painting or adjusting a single surface layer
• Alpha — only splats that contribute meaningfully to the screen pixels (adjustable threshold). For touching what is visible without the ghosts

Clone stamp tab

Copies selected splats and stamps them elsewhere. Use it to patch a missing area with a similar neighboring area, or to duplicate a part several times.

1. Select the part to copy in the Select tab and press Copy selected (Ctrl+C). The clipboard now holds n splats
2. Set position offset · rotation · scale, and enable X/Y/Z mirror if needed (great for symmetric parts)
3. Shift+click in the viewport to choose where to stamp, then Apply or Paste (Ctrl+V)
4. Clones inherit color, material, LOD labels and other attributes. Ctrl+Z if it went wrong

Adjust tab (Y)

Raises or lowers the brightness and opacity where you brush. Choose the adjust action — brighten · darken · opacity + · opacity − — and a strength. The target range (Projection · Depth · Alpha) works as in the Paint tab. Fill in areas that trained too translucent with opacity +, or fade ghostly leftovers away with opacity −.

Grab tab (G)

Drags splats with the brush. Use it to pull a slightly misaligned part into place, lift a dent or push in a bump. Splats inside the brush circle follow the drag, moving less the farther they are from the center so the result blends with its surroundings. With a selection active, only splats inside it are dragged.

Brush settings

• Brush size — the slider (0.5–50) or `Shift`+wheel in the viewport. A plain wheel zooms the camera, so hold Shift while scrolling. [ ] also shrink and grow it
• Strength (0–1) — how far splats follow the brush per stroke. Lower it for fine, repeated nudges; raise it to move a lot at once

Grab falloff

The curve that sets how the influence fades from the brush center to its edge. With the same size and strength, the curve changes the shape of the result.

• Gaussian — bell shaped: strong at the center, almost nothing at the edge, giving the softest bump. A safe default
• Cosine — stays gentle near the center, then drops quickly in the middle range. For moving a wide area evenly with a short, crisp boundary
• Smooth — falls off quickly from the center and levels out toward the edge. The center stands out while the surroundings follow only slightly
• Plateau — a flat zone in the center moves uniformly, then fades softly outside it. For pushing or pulling a whole face as one
• Linear — decreases in a straight line from center to edge. A predictable, cone-shaped deformation
• Sharp — drops steeply near the center for a narrow, pointed move. For pinpointing a small bump or dent
• Constant — everything inside the brush moves with the same strength. Like translating a block with no falloff; the boundary steps abruptly, so avoid it on broad curved surfaces

Deformation mode

• Spatial — moves nearby splats by 3D distance. Needs no preparation and works immediately, but parts that merely sit close together (a cup and its handle, overlapping folds) can get dragged along
• Surface — moves only splats connected along the object's surface. Parts that are near in space but not joined by the surface stay put, which is far more accurate for thin parts and overlapping structures
• Surface mode needs a one-time surface computation per file. Pressing the button queues a server job (status: requesting → computing → done) and you can keep editing in Spatial mode meanwhile. If it fails, press Recompute. The result is stored with the file, so it is ready instantly next time

If the surface looks rough after a big move, smooth it out with light strokes on a low-strength Smooth curve — or, to sculpt the shape itself, the Puppet pin tab is the better tool.

Lattice tab

Wraps the item (or the selection) in a control-point cage and moves the points to bend or stretch the whole silhouette. For large-scale shape changes rather than local sculpting. Turning the lattice on leaves the splats as they are and shows the cage; moving control points deforms the splats inside.

Preparing the cage

• Fit cage — fit the grid to the whole item or the selection. Fitting to a selection lets you deform only that part
• Grid resolution (2–10) — control points per axis. Higher is finer but leaves more points to handle; 3–4 suits most cases
• Cage placement (gizmo) — the move · rotate · scale buttons move or turn the cage itself. Splats do not move; only the deformation frame changes

Selecting control points

• Click — selects that point alone. Clicking the only selected point deselects it
• `Shift`+click or `Ctrl/Cmd`+click — adds the point to, or removes it from, the selection (toggle). For collecting scattered points one by one
• `Shift`+drag (on empty space) — draws a rectangle on screen and adds every point inside it to the selection. The camera does not orbit while Shift is held
• `A` select all / clear · `I` invert · click empty space to clear

Moving control points

Two ways, and they combine.

• Direct drag — grab a point and pull. It moves on a plane facing the camera, and if several points are selected, dragging one moves all of them by the same amount
• Gizmo — with one or more points selected, a gizmo appears at the center of the selection. Switch its mode with the tab's move · rotate · scale buttons to move the points precisely along an axis, or rotate and scale them about the center. Select the four points of one face and scale to inflate or shrink that face evenly

Interpolation

Sets how the splats between control points follow. Smoothness and how the points respond differ, so pick by purpose.

• Bezier (default) — all control points blend into one smooth surface for the smoothest, seamless result. The trade-off: dragging one point moves the splats less than the drag because neighboring points are averaged in. Best for shaping a large silhouette naturally
• Smooth — splats follow a dragged point 1:1 while still blending smoothly across cell borders (Catmull-Rom). For "exactly as far as I drag, yet smooth"
• Direct — follows linearly within the point's own cell only (trilinear). The most intuitive 1:1 response, but creases can appear at cell borders. For angular items or pushing one specific span precisely

Strength is how much of the deformation to apply (0 = original, 1 = full) and multiplies the whole result regardless of interpolation.

Presets and applying

• Deformation presets — bend · twist · taper · bulge · shear as sliders, giving typical deformations without moving points one by one
• Reset — returns points and presets to the initial state
• Deform — bakes the current cage state into the geometry ("Applying lattice deformation…"). Until then it is a preview; after applying, each splat's orientation, scale and view-dependent attributes are transformed too, so the material look survives

Puppet pin tab

Sculpt an orange proxy surface that wraps the splats with brushes, and the splats attached to it follow. For local sculpting such as smoothing a crease or inflating a dented spot.

1. Press Detect surface to build the proxy (orange). If it looks rough, Detect surface again
2. Pick a brush — Grab (pull) · Smooth · Inflate · Flatten · Pinch. Hold Ctrl to invert inflate/pinch
3. Sculpt with Shift+drag; a plain drag still rotates the camera. Shift+scroll changes the brush radius, and the tab sets the strength
4. Heavily stretched areas split automatically so curves stay smooth. Reset deformation undoes everything; when you're happy, saving applies the deformation ("Applying puppet pin deformation…")

Surface detection can fail on large scenes. Space items or scenes with a very large point count need a lot of memory and time to build the proxy surface, which can error out or stall the browser. Delete or detach areas you won't sculpt — background, floor — to limit the target to the item's surroundings before detecting the surface.

Both Lattice and Puppet pin also transform each splat's orientation, scale and view-dependent attributes, so the material look survives deformation.

Collider tab

Collision volumes that keep the camera from pushing into the item in the published viewer. Changes are saved automatically as you edit.

• + Box · + Sphere — primitives sized to the splat when added; adjust with the gizmo or the size · radius values
• Generate auto mesh — computes a wrap-around mesh. Capture views · voxel resolution set the mesh quality, thin-part sensitivity (%) how much thin parts get filled (higher fills thinner parts but thickens them; 0 = off), and collision padding how far the mesh is inflated beyond the surface
• Vertex edit — drag the yellow vertices of the auto mesh to refine it. Vertices within the influence radius follow smoothly
• Camera radius — the camera is treated as a sphere of this radius. Larger stops farther from the collider; 0 applies only the minimum anti-clipping distance
• Camera collision preview — when on, the editor camera collides with the collider too, so you can feel what the viewer will do. The orange line is the actual stopping boundary

The auto mesh is also used for Collider normals in the Material tab, so build it first if you plan to assign materials.

Auto mesh generation can fail on large scenes. On wide space items or scenes with a very large point count, the capture and voxel computation easily exceed their limits. Delete unnecessary areas to shrink the scene to the item's surroundings, and if it still fails, lower the voxel resolution and capture views and try again. When the whole space doesn't need wrapping, box and sphere primitives are often enough.

Material tab

Keeps the original splat colors and gives each point Roughness · Metallic · Specular · Clearcoat plus a surface normal, producing materials that react to light: metals reflect, matte surfaces scatter, according to the scene lights and environment lighting (IBL). The tab is hidden while a placed item is selected.

This is an experimental feature. Applying materials to splats is still being refined, so results can vary from item to item, and behavior and defaults may change in later versions. Material data is stored in a separate file from the original splat, so you can turn it off at any time and return to the original colors.

Materials only show with light

A material does not change color by itself. Points with a material recompute their original color as a lit surface, so what light they receive, and how much, is decided in → Normal edit mode › Lighting tab.

• Environment lighting (HDRI) — the scenery seen in reflections and the soft light from every side. Glossy materials such as metal and ceramic reflect this environment, so a flat environment makes the material look flat too. The Env Map switch in the Lighting tab is the same as On/Off in this tab, and at environment intensity 0 the environment light disappears, leaving unlit points black
• Lights (directional · point · spot) — directional light. Points with a material compute shading and highlights from their surface normal and the light direction, so moving a light moves the reflections. Points without a material receive only a rough brightness and tint
• With neither — while editing, a default studio environment is applied automatically for preview. In the viewer, a built-in key/fill pair is used when no environment exists. To get the look you want, though, place the environment and lights yourself in the Lighting tab

So the natural order is set up the environment and lights in the Lighting tab → apply materials in this tab → return to the Lighting tab to tune intensity and direction. The Env Map setup button in the Lighting tab does collider generation, normal projection and the default matte material in one go, after which you only need to switch the parts you want to metal or ceramic here.

Before you start — turn it on and assign normals

Materials only work when prepared in this order. Skip these two steps and reflections will not look right no matter which preset you pick.

1. Turn on the switch at the top of the tab (the same switch as Env Map in the Lighting tab). While off, the settings below are dimmed and no material is rendered
2. Press the button under Collider normals. If there is no collider yet it reads Generate collider + project normals, and pressing it builds the collider auto mesh and then projects normals — assigning a surface normal to each point needs a surface to reference. You can also build it yourself with custom settings in the Collider tab
3. If a collider already exists the button reads Project normals from nearest faces. A progress indicator runs, and when it finishes every point has a surface normal so reflections line up with the surface. Until then the preview uses approximate normals only
4. If the normals look faceted, raise Normal smoothing (0–6, default 2) and run the projection again. The collider auto mesh comes from a grid and has angular faces; this value is how many times vertex normals are averaged with their neighbors, so higher values flatten grid bumps for smoother shading. 0 only interpolates face normals between vertices. Too high rounds off real edges as well, so adjust while watching the item

This preparation can also run automatically with the Generate collider + project normals + apply default material button in → Normal edit mode › Lighting tab › Env Map switch. It generates the collider, projects normals and applies the default matte material everywhere, after which you can switch specific regions to other materials in this tab.

Assigning materials

1. Choose a material type (preset) — default · matte · plastic · metal · ceramic · fabric. Presets set the Roughness · Metallic · Specular · Clearcoat values below, which you can fine-tune
2. Choose the target — Apply to n selected if you selected a part in the Select tab, otherwise Apply to all points
3. Or brush it on — set the brush action to Paint material and Shift+drag. Erase material removes only the material assignment and keeps the normals. Adjust brush strength and falloff (hard · linear · smooth)
4. Tidy edges with Fill selection material · Smooth, and check with the preview modes material result · material values · original color · normals. In material-values mode, color encodes the material type and brightness encodes Roughness; Normals mode shows each point's assigned surface normal as color (X·Y·Z → R·G·B). Points without a normal yet use the camera-facing approximation and appear as a single flat color, so use it to check that collider normals were projected properly

Recomputing collider normals

After regenerating the collider auto mesh or moving splats substantially, press Project normals from nearest faces again to refresh the normals. Stale normals send reflections in the wrong direction.

Environment lighting lives in the Lighting tab

Choosing or uploading the HDRI seen in reflections and adjusting environment intensity · rotation is a scene-level setting, so it is not in the Material tab: it lives in → Normal edit mode › Lighting tab › Environment lighting (HDRI). Metallic and glossy materials reflect this environment, so if a material looks flat or too bright, change the environment and its intensity in the Lighting tab.

• Fully reset material and normal data returns everything to the initial state

Color tab

Separate from the global grading in Normal edit's Color tab, this grades selected splats only. Without a selection it says "no area selected", so pick the part in the Select tab first. Use it when one area is off-color, to sharpen just a label, or to match one part's tone to another.

• Basic grading — brightness · contrast · gamma · hue, highlights · shadows · whites · blacks
• Precision grading (linear) — exposure · tint · dehaze · highlights · shadows · contrast on a linear pipeline
• Color range grading (HSL target) — pick a hue range (°) and shift its hue · saturation · luminance. E.g. turn only the red parts orange
• Delight · restore — flatten lighting (neutralize captured shading), reclaim clipping (recover blown-out areas), smooth texture (neighbor average), local contrast
• Capture · transplant reference tone — select a well-exposed part and save the current selection as the reference tone, then select another part and transplant the reference tone to match it

Preview and apply

What you see while moving the sliders is a preview: the original colors are kept aside and the adjustment is painted onto the selection temporarily. Press Apply to Current Selection at the top of the tab to commit it; it then enters the undo history (Ctrl+Z) and the sliders return to their defaults.

• Saving or switching to another tab applies the pending adjustment automatically, so saving right after moving the sliders writes the result to the file
• Changing the selection while an adjustment is unapplied shows a dialog asking whether to apply or discard it. OK applies it to the previous selection, Cancel discards it. Either way the sliders return to their defaults, so the same values do not carry over to the new selection
• To discard without applying, press Reset next to the Apply button. Once every value is back at its default the preview reverts to the original colors

The top bar also has an Apply to Current Selection button, but that one belongs to the opacity/size filters and is unrelated to color grading.

Inpaint tab

Fills deleted areas or unwanted marks — logos, stains, shadows — to match the surroundings. There are two methods. Quick inpaint spreads nearby colors into the area immediately; AI inpaint captures the area from several angles, fills each image with a neural network, and then generates a new surface patch from the result. Either way, select the target area first in the Select tab (or with the brush); without a selection the tab shows a "Go to Select tab" prompt.

Quick inpaint

Spreads the colors of surrounding points into the selection. The result is applied immediately and can be undone with Ctrl+Z. When done, "applied to n points" is shown.

• Strength (0.1–1) — how strongly the surrounding color overwrites the area. Low values keep some of the original color so the mark only fades; 1 replaces it entirely. For stains that differ only in color, start low and raise it
• Texture restore (0–1) — how closely to follow the surrounding pattern and texture. 0 fills with a smooth average color; higher values continue repeating grain such as wood or fabric. On plain single-color surfaces, 0 is cleanest
• Precision (subdivide) — if the result looks smeared, press Split selection finer to divide the selected points into smaller ones and run again. "a → b points" is shown, and each repetition follows the pattern more precisely. It increases the point count, so split only as much as needed

Quick inpaint changes color only. Point positions and shapes stay the same, so a hole left by a deletion is not filled this way. To fill holes, use AI inpaint below or first add points with tools such as clone in the Select tab.

AI inpaint (beta)

Captures the selection from several angles, lets a neural network (LaMa) fill the selected part of each image to blend with its surroundings, and then generates a new surface patch (points) to match. Because it produces shape as well as color, it can fill holes and deleted regions. The model runs locally in the browser; the first run can take tens of seconds to download and prepare it. At least 8 points must be selected.

1. Choose capture views — left empty, it automatically picks as many suitable angles as the capture views slider says. If a particular angle matters, rotate the viewer to it and press + Add current view to register it yourself. Manual views take priority and missing angles are filled in automatically. Click a registered view to remove it, or use Clear all. More views improve quality but take longer
2. Run AI inpaint — the stages are shown in order: prepare (download) → capture scene → AI processing → result selection → surface patch generation → color assignment → fine fitting → review → apply. While it runs, only camera control works on the canvas; other editing and shortcuts are locked, and you can cancel at any time
3. Choose the inpainted results to train with — once the AI has filled each view's image, a dialog asks which of those results the splats should be trained on. Each view shows its original and filled result side by side, with the mask size and depth error. Click thumbnails to toggle them, pick the results that agree with each other, and press Train with selected images. Choosing just one is fine. Cancel all ends without changing the scene

   Choosing the AI inpaint results — the dialog with several of the inpainted views selected for training

4. Review — fine fitting runs in several rounds, and the status bar at the top lets you inspect each stage's result and continue with Next round · Next stage or confirm immediately with Apply current result. During the depth-based patch stage you can also skip color correction to keep only the shape
5. Previews — for each captured view you can compare original (red = area to fill) · target · applied side by side. Click a thumbnail to enlarge it, or Clear to discard the previews

Which results to choose — the AI fills each view's image independently, so results from different views do not always agree. Training targets only the views you chose, and each splat follows the color of the selected view that faces it most directly. Choosing inconsistent results together can therefore leave seams where two views meet. If the results happen to agree, choose several to cover a wider range of angles; if unsure, choose only one view, such as the front, where the whole mark is clearly visible. Unselected views are not used for training and remain as previews for reference.

When nothing is applied

AI inpaint changes the scene only when the generated patch passes its safety checks (depth validation and others). If it fails, "no changes were made" is shown together with advice for the cause.

• Depth validation failed — the generated surface's position or size does not fit its surroundings. Narrow the selection boundary and try again
• Not enough views showing depth — add angles where the depth of the selected part is clearly visible with + Add current view and run again
• Not enough views showing the surroundings — add angles that show the pattern around the mark more widely
• Deformation in progress — if the Lattice or Puppet tab is open, close it first so the deformation is applied, then run again

AI inpaint takes longer and fails more often the larger the scene or the selection. Running it on one mark at a time over a small area gives better results. If the AI inpaint section says it is "not configured yet", the deployment has no model URL set and only quick inpaint is available.

Subdivide tab

Splits selected splats into smaller ones, increasing the point count. Use it as a preparation step before refining an area that is lumped into a few large splats with paint, color grading or inpainting. Each splat is replaced by smaller child splats along its long axis, and color, rotation, appearance and extra data such as LOD carry over to the children. Select the target first in the Select tab (or with the brush); without a selection, a Select splats first button takes you to the Select tab.

• Split levels — choose level 1 · 2 · 3. Each level doubles the splat count, giving ×2 · ×4 · ×8
• Current selection · Final children — shows how many splats are selected and how many children subdivision will produce. If the final count exceeds 200,000, the run is blocked and the number turns red, so reduce the selection or lower the level
• Keep generated child splats selected — leave it on to have the new children stay selected afterwards, so you can continue straight into painting or color grading
• Subdivide selection — runs it and reports "Replaced a splats with b smaller ones". It can be repeated and undone with Ctrl+Z

Rendering load and file size grow with the point count. Apply it only where needed and only as many levels as needed. Split selection finer in the Inpaint tab is the same feature.

Bottom toolbar and version history

The bottom toolbar holds undo and save together with the version button, which is shown only in Splat edit mode.

• Keeps the last 5 splat files automatically — each entry shows the time, point count and size, and the save currently in use is marked in use
• Saves that changed only lighting, style or material settings without editing the splat are shown as splat unchanged · settings save. They point at the same splat file, so they are marked same as current, have no restore/delete buttons, and do not take up one of the 5 slots
• Restore returns to that save (you can move to another version afterwards). Entries that are in use or identical to the current one cannot be deleted
• The original row at the bottom returns to the pre-edit file