3D Editor

The 3D Editor builds and renders 3D scenes in the browser. It draws a scene three ways: Simple, a plain studio-lit view for modeling; Realistic, a real-time view in the scene's own light; and Ray tracing, which renders light physically and sharpens the longer the view holds still. It runs on WebGPU; in a browser without it, the editor shows "WebGPU is required" and names the browsers that have it.

Who can open it

Every account: the 3D Editor button is on the rail, and Home has a 3D Scenes section.

Scenes made in the previous 3D editor are not carried over to this one and are being removed, with their share links. Scenes made in this editor stay.

3D on the board is separate and open to everyone: Image-to-3D in the chat bar's 3D mode, and 3D model nodes that you orbit, frame and light from their toolbar. See Image AI tools.

Start or open a scene

Click 3D Editor on the rail. With no scene open it shows the start screen:

  • Recent scenes: the six scenes you edited last. Click one to open it.
  • New scene: type a name, or leave the field empty for "Untitled scene", and click Create scene. The new scene opens straight away.

Inside the editor, New scene in the file menu saves the open scene, closes it and shows the start screen. If the save fails, the scene stays open.

Home's 3D Scenes section lists every scene. Double-click a scene, or choose Open in 3D Editor from its menu, to open it. The New scene card there opens the start screen. A scene can be filed in folders, tagged, favourited and moved to the Bin like any other item in Home.

To close the scene, point at the 3D Editor button on the rail and click Close on its card. The scene is saved first, and if that save fails it stays open. The start screen comes back.

The editor

  • Top bar. The editor shares Framo's top bar. The scene's name, beside the logo, opens the file menu. A dot beside the name means an edit is not saved yet. In the middle: Undo and Redo, Add (+), Move, Rotate and Scale, Edit mesh (see Edit a mesh), and the Simple / Realistic / Ray tracing switch.
  • View toolbar. A column on the viewport's right edge: the display mode (Shaded, Wireframe, Clay, MatCap, Normals, Lines), Frame selection and the grid. It steps aside in camera mode, where the shutter sits.
  • View cube. In the viewport's top right corner, a cube with rounded edges and corners that turns with the view. Z points up, as in Blender, and every axis the editor shows follows that: the gizmos, the Transform fields, the X / Y / Z locks while moving, and the mirror axes. Saved files stay glTF, which is Y up. Each face is labelled with its axis in that axis's colour, and a hovered face lights a box of the same colour behind its label. Click one to look from that side: Z is the Top view, -Y the Front, X the Right, and the opposite faces the other sides. These views are orthographic, with no perspective, in both renderers. Click a rounded edge to look from between its two faces, or a rounded corner to look from between three, in perspective. Each of these views brings the world origin to the middle across the view, a third up from the bottom (the centre, from the top or the bottom). Looking straight at a face, four arrows around the cube step a quarter turn to the face on that side, lit in that face's axis colour under the pointer. Right-click the cube to show something else on its faces: the sides of a car, a sneaker or a head, each with its front on the Front face. The choice is remembered in this browser. Paint mode has the cube too, in its own top right corner: there it shows the painted object's own sides, and a click looks at the model's centre. Hold Alt while orbiting to snap to the nearest axis view; keep dragging to step a quarter turn. Orbit without Alt to go back to perspective. The numpad navigates exactly as Blender's does: 1, 3 and 7 are the Front, Right and Top views (Ctrl for Back, Left and Bottom, Shift for the same sides of the selected object), 4 and 6 orbit left and right and 8 and 2 up and down in 15° steps, Ctrl with them pans, 9 turns to the opposite side, + and − zoom, 5 switches perspective and orthographic, 0 looks through the camera (Ctrl+Alt+0 moves the camera to the view first), the decimal point frames the selection and Home frames everything. Blender's roll (Shift+4 and 6) and Local View (/) are not there. The cube hides in camera mode, and an orthographic view has no depth of field or lens effects.
  • Left panel. Objects, Lights and Cameras list what is in the scene, each with a + (see Add things). Stage links to the environment and the scene camera's lens. Path holds the camera path.
  • Viewport. Drag to orbit, right-drag to pan, scroll to zoom. Click to select; click the same spot again for the object behind it; double-click for the whole model; Shift- or Cmd-click to add or remove one. Shift-drag, or B then drag, selects with a box. Alt- or Ctrl-click sets the focus point. With the Blender navigation preset (Settings → 3D Editor → Navigation), the middle button orbits, Shift+middle pans, scroll or Ctrl+middle zooms, and a plain left drag selects with a box.
  • Locking. A locked object is skipped by every viewport selection and by Cmd+A; a click reaches what is behind it. Lock it with the lock on its row in the left panel (it shows when you point at the row), with Lock in the row's right-click menu, or with the lock in the Object tab's header. The lock covers the object's children, saves with the scene, and the left panel still selects it.
  • Inspector, on the right, in four tabs. Each section starts closed, except Fog, Light probes and a selected camera's Camera section. Click a section's title to open or close it; this browser remembers which you opened.
    • Object (greyed out until something is selected): the selection's name, lock, visibility and transform, then a mesh's material (base colour, metallic, roughness, emission, transmission, subsurface with presets for skin, marble, jade, wax, milk and foods that scatter as far for the object's size as they do at life size, clearcoat, specular, sheen, textures) and light linking, a light's type, colour and intensity, a camera's focal length with Look through, or a fog or light probe box's settings. A selected viewpoint, or a selected perspective camera you are not looking through, shows a small preview of what it sees.
    • Scene: the environment (an HDRI from your HDRI library, picked from a searchable list with favourites, where Generate makes a new HDRI from a description, Add to library… uploads your own, and your own can be deleted; an .hdr or .exr from disk, which is saved into the scene; Atmo, a physical sky whose sun is set by time of day, date and latitude or by its angles, with a layer of clouds you can switch off or set by height, coverage, density, size and detail; or a colour), its intensity and rotation, the ground (see Reflective ground), and the background: Env, Color, Image or None.
    • Camera: the lens: a library of lenses modelled on real ones, focal length, fisheye and distortion, depth of field and focus, bokeh, vignetting, black-and-white film, a prism filter (see Lenses, depth of field and bokeh). While this tab is open the viewport shows a camera monitor with frame lines, and its round shutter button saves the view as a PNG. Viewport selection is locked meanwhile, and the status bar reads Locked; click it to unlock.
    • Render: the same Simple / Realistic / Ray tracing switch at the top, then the settings for the mode that is on. In Simple: cavity, ambient occlusion and temporal AA. In Realistic and Ray tracing: ray tracing (target samples, bounces, noise threshold, min samples, denoiser and more) and realistic (ray-traced lighting, shadows, ambient occlusion, global illumination, temporal AA, bloom), the current mode's section first. Last the view: Display (Shaded, Wireframe, Clay, MatCap, Normals, Lines), tone mapping and exposure (not in Simple), and grid. Tone mapping and exposure are saved with the scene, so the share link and VR show the scene at the same brightness. The other settings stay in your browser.
  • Status bar. The render mode, samples so far and how much of the image is still sampling while ray tracing ("done" once every pixel has settled), frame time, triangle count, how many objects are selected, and a button that turns viewport selection on and off: it reads Select while selection is on and Locked while it is off.

Tab enters Edit mesh when one editable mesh is selected. Otherwise it hides and shows both panels.

Add things

Add (+) in the top bar, or Shift+A, opens the add menu: Mesh (Box, Sphere, Plane, Cylinder, Torus), Light (Sun, Point light, Spot light, Area light, and Light probes), Volume (Fog) and Camera (Camera from view, a camera placed where you are looking). The + on Objects opens the same menu. The + on Lights lists only the four lights, and the + on Cameras adds a camera from the view straight away.

To add one of your own 3D models (a generation or an upload from Home's 3D Models), choose Model from library… at the top of the add menu and pick it; it is linked rather than copied, so it takes no extra storage. From outside the editor, Open in 3D Editor on a model (right-click it in the media library or on the board, or its ⋯ menu in the library) starts a new scene named after the model with the model in it.

World… in the add menu lists your World Labs worlds and makes new ones: describe a world, pick Draft or Standard (each shows its credits), and click Make world; it appears in the list when it is ready. Clicking a world adds it to the scene as a splat and makes its panorama the environment, which is what the ray tracer shows of it.

To bring in a model from your computer, choose Import… in the file menu (Cmd+I) or drop the file on the viewport: a .glb, a .gltf with its .bin and images, or a Gaussian splat (.ply, .spz, .splat, .ksplat). Splats draw in Simple and Realistic only. Open… (Cmd+O) replaces everything in the scene with the file you pick, and a file dropped on an empty scene opens the same way.

To model in Blender and see each change here, turn on Live from Blender in the file menu. Every model the Framo Bridge add-on sends lands in the scene as one group, and the next send replaces what is inside it while the group keeps the place, size, parent and visibility you gave it here. Each send is one undo step, and a duplicate of the group is never updated. It is off whenever the editor opens. See Blender Bridge for the browser permission, the add-on and the rest.

Simple, Realistic and Ray tracing

The Simple / Realistic / Ray tracing switch picks the render mode. P switches to Ray tracing, and back to whichever of Simple or Realistic was on last. Simple lights every surface with a fixed studio light, after Blender's Solid view, so the shape reads while you model; the scene's light, fog, shadows and tone mapping are off in it. Realistic is for moving things around in the scene's own light. Ray tracing builds the image up sample by sample while the view holds still, to the target set in Render. An outline round the Ray tracing button fills as it goes. It fills early once every pixel has settled, because pixels that are clean stop sampling and the work goes to the grainy parts.

The Wireframe, MatCap, Normals and Lines displays work in Simple and Realistic. Choosing one while ray tracing switches back to whichever of the two was on last; in Simple or Realistic it keeps the mode. Clay works in all three.

The Render tab's Simple section has Cavity (ridges a little lighter and creases darker), Ambient occlusion and Temporal AA, which is shared with Realistic.

Ray-traced lighting (Render tab, Realistic section) is on by default. It uses the ray tracer's scene to give the Realistic view contact shadows from the HDRI, reflections of other objects, and light from glowing meshes. While it is on it replaces screen-space global illumination and ambient occlusion. It starts once the scene is ready to trace, and needs WebGPU.

The Render tab's Ray tracing section also has:

  • Noise threshold: how clean a pixel must be before it stops sampling. 0 reads Off and samples every pixel to the target.
  • Min samples: how many samples every pixel takes before it may stop. Raise it for caustics and small bright lights.
  • ReSTIR PT: off by default. It reuses whole bounced-light paths across pixels, through mirrors and glass too: less noise per frame, slower per frame. It replaces ReSTIR GI and the radiance cache while on.
  • While moving: the resolution the ray tracer uses while the camera or a gizmo moves, so orbiting stays quick.
  • Low memory: off by default. It traces the image in parts and needs about a third of the graphics memory (1080p: 400 MB instead of 1.1 GB), for the same image about 7% slower.

Render speed

Most people should leave the render settings alone: the defaults are already close to the fastest way to a clean image. The editor measured this in its render lab (2026-10-12, on an RTX 3080 Ti), counting the time to an equally clean picture, not the time per frame:

  • Bounces: Bounces past four add almost no time, because few paths are still going by then. Lowering them saves about 3%.
  • Unbiased ReSTIR stays on. Turning it off saves only about 5% and makes most scenes look slightly different (1 to 6%).
  • ReSTIR PT stays off unless a scene needs it (light through gaps, caustics). It costs about 40% more time to a clean picture, and the picture differs slightly (1 to 7%) from the one without it.
  • Fog adds about half again to a ray-traced frame at 1080p. In Realistic it costs almost nothing.
  • Denoiser preview: once a still picture passes 16 samples, the denoised preview updates every fourth frame instead of every frame. The finished picture is always denoised fresh.

Faster render card. While ray tracing, a card at the top of the Render tab offers changes that make the render faster without changing how it looks. It only offers what was measured. Apply makes the changes, Undo puts them back, and Not now hides that suggestion. Every setting stays below the card for anyone who wants to set it by hand.

Out of graphics memory. When other apps or browser tabs fill the graphics card, the ray tracer's working data moves to the computer's main memory and ray tracing runs many times slower (on 2026-10-12, about 30 times). The editor notices this by itself. The card then says "The graphics card is out of memory" and offers to turn on Low memory, which brings the speed back with the same image. Closing other heavy tabs or apps helps too.

Ask Friday. In the 3D Editor with a scene open, ask Friday to make the render faster, or tell it the render is slow. Friday sees what the card sees: whether you are ray tracing, whether the graphics card is out of memory, and which changes apply to this scene now. When there are some, Friday applies them for you, the same ones the card would, and the card then shows "Applied" with Undo. Ask Friday to undo it and it puts them back. When nothing applies, Friday says so: the defaults are already near the fastest, and it never makes up a change of its own.

MatCaps

The display menu (the view toolbar's top button) has MatCap, shading that shows form while you model, and under it a grid of 12: Clay, Clay dark, Clay brown, Studio, Red wax, Skin, Jade, Pearl, Ceramic, Chrome, Gold and Toon. Clicking one picks it and switches the display to MatCap. MatCap shows in Simple and Realistic, not in Ray tracing, and stays in your browser, not in the scene. The Render tab's Display list has MatCap too, and uses the last one you picked.

Edit a mesh

Select one mesh and press Tab, or click Edit mesh in the top bar. A plate in the viewport's top left corner shows Vertex, Edge and Face (keys 1, 2, 3) and Done. Tab, Done or Edit mesh again goes back to object mode.

Limits:

  • Only a mesh with one material can be edited. Gaussian splats, rigged meshes, meshes with shape keys or instances, and a material that reads a second UV set cannot. Edit mesh is then greyed out, and Tab hides the panels instead.
  • Editing happens in Simple or Realistic. Entering from Ray tracing switches back to whichever of the two was on last, and choosing Ray tracing leaves edit mode.
  • The Add menu's shapes edit as quads. An imported mesh is joined into quads the first time you edit it, without changing its shape.
  • Edits save with the scene, and each one is an undo step.
  • While editing, the object keys are off except undo, redo, open, import, export, F (frame), Shift+Z (wireframe) and P (ray tracing).

To select: click an element; Shift-click adds or removes; click empty space to deselect. Cmd-click selects the shortest path from the last element you picked. Alt-click an edge selects its loop, Cmd+Alt-click its ring. Shift-drag adds a box of elements, B then drag replaces. A selects all (again deselects), Alt+A or Esc deselects, Cmd+I inverts, Cmd+= selects more, Cmd+- selects less, and L selects everything linked.

To edit, press a key and move the mouse:

  • G moves. G again slides along the edges, where F flips and C clamps.
  • R rotates.
  • E extrudes the selected faces, I insets them.

S scales from the scale gizmo instead of the mouse: drag a puck to scale along its axis, or the circle to scale evenly. Click a puck to flatten the selection along that axis, or a stem to squash it onto that axis's line. The gizmo stays up after each one until Enter, Esc or a click away from it. Typing still works: S, then Z, then 0, then Enter flattens along Z.

While one runs, X, Y or Z locks that axis, and typing a number sets the exact amount (metres for a move, degrees for a rotation). Click, Enter or Space confirms; right-click or Esc cancels.

  • Cmd+R cuts a loop across the edge under the cursor, then slides it.
  • X or Delete deletes the selected faces. It will not delete the last face; delete the object instead.
  • M merges the selected vertices at their centre.

The gizmo moves the selection too. The top bar's Move, Rotate and Scale switch it, and so do G, R and S: each switches the gizmo to its tool, then runs the edit above (S brings up the scale gizmo).

Textures

A material's Textures in the Object tab take your own image files. To paint a texture onto a model, use Paint.

Paint

Paint in the top bar (next to Scene) opens Paint mode on the selected object, with every mesh part under it. Paint goes straight onto the surface, so a model needs no UVs to be painted: there are no seams and no stretching, and paint does not bleed across a thin gap. Paint is greyed out while nothing is selected and while a mesh is being edited.

Paint mode swaps the side panels: the brush and the material library are on the left, the layers on the right. The tools are Paint (B, Shift+click draws a line from the last stroke), Erase (E), Fill a part (G), Hide (H) and Reveal (R), which paint the layer's mask, Pick material from the model (I) and Sticker (S). Paint can lay down colour, roughness, metal, bumps, glow and opacity, or a textured material from the library.

There are up to 16 layers, each with an opacity, one of eight blend modes and a mask. A mask can also come from the model's shape: edge wear, dirt, dust, gradients, noise, low spots, puddles and bevels. A layer's material is laid on from three sides (Triplanar) or straight through from the current view (Planar). Merge down joins a layer into the one below it, and Flatten all into the base bakes every layer into the look under the paint and starts again from one empty layer.

The paint goes over what the object looked like, read through its own UVs. When those UVs cannot hold its look (a part has none, they reach outside the square, or two materials share it), the paint goes over a flat colour instead, and Apply replaces the object's texture.

The paint applies itself a few seconds after you stop painting, and Apply applies it at once. Applying bakes colour, roughness-metal and normal maps (with ambient occlusion if Include AO is on, and an emissive map if anything glows) into one new material on every part, as one undo step. The layers stay on the object, so Paint opens on them again later. Apply bakes into the object's own UVs. When they cannot take a bake (they overlap, as on the Box, where every face fills the square), Apply first lays out new UVs and bakes into those. A notice says which when Paint opens. Going back to Scene applies anything not applied yet.

The menu next to Apply sets the texture size (1K to 8K, as far as the device allows) and exports the maps as a zip laid out for glTF / Blender, Unreal or Unity URP, without changing the scene. An object whose UVs cannot take a bake is applied once before it exports.

Fog

Add → Volume → Fog adds a box of fog around the scene. Move and scale it like any object; the fog fills the box. Its Fog section sets Density (how thick), Color (white absorbs nothing, darker reads as smoke) and Anisotropy (above 0 it glows toward a light, where light shafts show best). Its Smoke section breaks the fog into drifting puffs: Amount (0 is even fog, 1 leaves clear air between puffs), Size (a puff's size in metres) and Speed (how fast they drift; 0 holds them still). Fog shows in Realistic and Ray tracing, not in Simple, and saves with the scene. A scene takes up to 8 fog boxes; overlapping boxes add up.

Light probes

Light probes bake bounced light into a box, so the Realistic view lights rooms and corners the way the ray tracer would, without light leaking through walls.

Add → Light → Light probes adds a box filled with a grid of probes. It is not in the Lights section's +. Its Light probes section has:

  • Spacing: the distance between probes, with a line saying how many that makes. The most is 16,384; above that the line turns red and Bake is off.
  • Bounces, Rays per probe and Bias (more hides light leaking through walls, less keeps contact shadows).
  • Show probes: draws every probe as a small ball of its light. A red one is buried inside geometry and not used.
  • Bake, then Bake again and Clear once baked. While it bakes, a progress bar and Cancel show.

The section says where the bake stands: "Not baked yet.", "Baked, up to date." or "Out of date: the scene or the box changed since the bake." The bake saves with the scene.

The probes light the Realistic view only, and only with Ray-traced lighting off; with it on, it lights the scene itself and the probes step aside. Baking needs WebGPU. Only the first visible box with a bake is used.

Reflective ground

In the Scene tab's Environment section, under Ground:

  • Projected ground puts the HDRI on a floor under the model.
  • Shadows adds a ground that catches shadows at the floor level.
  • Reflections makes the floor glossy, so it mirrors the objects standing on it, in both renderers. Reflectivity sets how much it reflects and Roughness how blurred the reflection is (0 is a mirror).
  • Floor level sets the floor's height. Turning on Reflections sets it where the model stands, and it stays put when you move the model.

These save with the scene.

Light linking

With a mesh selected, the Object tab's Modifiers section has a + that adds Light linking. It lists every light and glowing object in the scene, each with On and Off. A light switched off sends no direct light to this mesh. The environment always lights it, and light bouncing off other objects still reaches it. The × on its header takes it off, which turns every switch back on. It works in both renderers and saves with the scene.

Camera path and video

In the left panel's Path section, + saves the current view as a viewpoint. Click one to select it: the Object tab shows it and the view stays where it is. Go to view (on the row, in the Object tab, or on right-click) flies the view there and opens the Camera tab to look through it. Right-click also updates it to the current view, renames, moves or deletes it. The wand opens camera moves (Turntable 360°, Arc, Push in, Dolly zoom, Crane up, Reveal and more): pick one, then click the subject. The red button records a move while you orbit, pan and zoom, and Stop turns it into viewpoints.

The path is drawn in the viewport, including while you look through the camera; the eye in the Path section's header hides it. Click a viewpoint's camera or target handle to select it, then drag it to move it. Hovering the path line shows a point where a click adds a path point; drag it to bend the path, which runs through it without changing the timing. A selected path point shows Remove point in the Object tab. A box selects every viewpoint and path point inside it, and Shift-click adds or removes one; the gizmo then moves them together. Delete removes the selected path points and viewpoints. While you look through the camera, a click still selects a handle or adds a point, but to drag it, click Locked in the status bar first.

With two or more viewpoints a timeline sits along the viewport's foot: play, scrub, loop, the curves and path settings (duration, each view's timing, motion blur, handheld shake), and the clapperboard that exports a video, as Export video… in the file menu does. The export picks a size (720p to 4K UHD, Square 1:1, Portrait 4:5 or Vertical 9:16), 24, 30 or 60 fps, Realistic or Ray traced, and MP4 or WebM, and saves the file to your computer. Keep the tab in front while it renders.

Saving

A scene saves itself a moment after you stop editing, and when you switch away from the browser tab. There is no save command: the file menu has no Save or Save As…, and Cmd+S (Ctrl+S on Windows) does nothing. The file menu's first line shows where the save stands: "Saved", "Unsaved changes · saves in a moment", "Saving…", "Offline · saves when you're back online", "Not saved yet · trying again", "Not saved · undo the last edit", "Changed somewhere else · save a copy or reload" or "Couldn't open · edits here are not saved". Closing the browser tab before an edit is saved asks first; leaving the 3D Editor for another part of Framo saves the last edit on the way out.

Imported files count toward your storage. A file over 512 MB is refused when you import it, and once your storage is full, a save that would store a new file says "Your storage is full" until you make room. A scene in the Bin stops saving until you restore it.

If the same scene was saved from another tab or device after you opened it, the editor says "This scene was changed somewhere else" and pauses autosave. Save as a copy saves your version as a new scene and opens it. Reload gets the latest version; edits made here since your last save are not in it. Leaving the editor while the banner is up keeps your version as a copy.

Export GLB in the file menu downloads a copy of the scene as a .glb file.

Version history

Version history… in the file menu lists the versions the scene keeps: every save of the last 15 minutes, the first save of each hour for a day, the first save of each day for 30 days, and always the two latest, grouped by day with the time each was saved. Restore puts the scene back as that version saved it. A restore is an edit like any other: Undo takes it back, and the scene saves it as its newest version, so the version you restored over stays in the history too. The scene as it is now is marked "Current".

Keys

G moves, R rotates, S scales, F frames the selection, Shift+D duplicates, Delete removes, H hides or shows the selection, Shift+H hides the rest, Alt+H shows everything, Cmd+A selects all, Esc deselects or leaves a camera, 0 looks through a camera, P switches to ray tracing and back, Shift+Z switches to wireframe and back, Tab edits the selected mesh or hides the panels, Shift+A adds. Cmd+Z undoes; Cmd+Shift+Z or Cmd+Y redoes. On Windows, Ctrl takes Cmd's place. The menus and tooltips show each key; the Keymap page in Settings does not list them. The edit mode keys are in Edit a mesh; most of them show nowhere in the editor.

Settings

Settings → 3D Editor has two pages. Navigation picks the mouse preset (Standard or Blender), lists what each button does, and tunes the camera: zoom to cursor, infinity zoom, smoothing, and pan, zoom and orbit speeds. Colors sets the selection outline and the grid's colours. Both stay in your browser and apply at once.

3D enhance

The enhance bar, the chat bar locked to Enhance, floats over the editor. Describe how the scene should look and send: it takes the frame the viewport shows at that moment (the ray-traced image as far as it has got, or the live frame, cropped to the camera's frame lines when they are set) and sends it to the image models. The result appears over the viewport when it is ready; its X goes back to the live scene. The realtime model streams its frames over the viewport the same way while the session runs. See Chat Bar: Generating Images.

Share a scene

In Home's 3D Scenes, open a scene's menu and choose Share Options. The Share scene window opens. Click Create link to make the link, copy it from the field, and click Stop sharing to turn it off. Someone who opens the link sees the scene, no sign-in needed: they can orbit, pan and zoom, but not edit it. A shared scene cannot be cloned.

The viewer runs on any device, phones included. A device without WebGPU shows the scene in Realistic only. The Realistic / Ray tracing switch shows only where the device can ray trace, so never on a phone.

The window also says whether the scene's light is baked for phones. When it is not, or the scene changed since, Bake for phones opens the scene in the 3D Editor, adds a light probe box around it if it has none, and bakes it. "Light baked" says when it is done, and the link shows the bake once the scene has saved.