glTF viewer and inspector
What this page tells youFree viewer, no account
Open a .glb, .gltf, .fbx or .obj file in your browser and see what is actually in it: every part, every material, every texture and its size, and what is wrong with the shape. Your file stays on your computer. Nothing is uploaded, and there is nothing to sign up for.
The model is opened by the browser itself, from the file on your disk. It is not uploaded, not copied to a server, and not sent anywhere afterwards. Its name and its size are not sent anywhere either. If the model asks for a texture from a web address, that address is not followed.
There is no account, no trial and no limit on how many files you open. Close the tab and nothing is left behind but the page itself.
Other viewers show you the model and count its triangles. This one also walks the shape and says, in plain words, what is broken about it: the surfaces that are really several loose pieces, the faces that are inside out, the rims where a solid was meant to be closed.
How big it is, which version of the format it was written to, and which program wrote it. That last one settles more arguments than anything else on the page.
Which optional parts of the format it uses, each with a sentence saying what that part does to the model, and whether the file insists on it. A file that insists on something the program at the other end cannot read is the usual reason a model opens empty somewhere else, and this is where you find out before you send it.
A person 1.7 m tall, standing on the floor beside the model. It answers at a glance what a row of numbers never does: whether the sofa your supplier sent is a sofa or a doll’s house, whether it is lying on its side, and whether it floats above the floor instead of resting on it. Switch it off when you have seen enough.
Then the same thing as a checklist, against what the model marketplaces themselves require of the people who sell on them. Whether it is built at the size of the real thing, whether its zero point sits on the model or four metres away from it, whether the bottom of it rests on the floor, whether anything is stretched by a setting instead of being built that way, and whether its textures are named where anybody but the person who exported it can find them. Each one says who asks for it, so you can send the answer on.
Sizes in metres, centimetres, millimetres, feet or inches, whichever you work in. FBX and OBJ files do not state what their numbers mean, so for those the page shows the numbers as they are written and says so rather than inventing a unit for them.
How many parts there are, how many triangles, how many separate draws a frame costs, and how much the whole thing is likely to weigh on a graphics card.
Every material, what kind it is and how many parts use it. Every texture, how large the picture is, what job it does, and what it costs in memory once it is loaded, which is almost never what it weighs on disk.
Every animation with its length, and how many things it moves, and any of them played here with a timeline you can drag. Whether anything is rigged to a skeleton.
A list of everything in the file that you can open up and walk through. Pick a part and it tells you about that part on its own.
Press the button and it walks every part of the model, then writes down what it found in sentences rather than counts.
Corners sitting on top of one another without being joined, so a wall that looks solid is four loose sheets. Rims where a solid was meant to be closed. Faces that disagree about which way is out, so one of them shows dark. Whole pieces that are inside out. Triangles so thin they have no area. Numbers in the file that are not numbers, which is the one fault that makes other programs refuse a file outright.
Each one says what it does to your work and what to do about it in the program the model came from. Nothing here will ever change your file.
And it shows you where. Press "show me where" on a finding and every place it was found is drawn as a red dot on the model, through the model rather than behind it, so a flap buried inside a solid is still a dot you can see. "Next one" takes the camera to each in turn, which is the difference between a scatter of dots and somewhere to start.
The official Khronos check, the one the people who wrote the glTF format publish, runs here on your own machine. It is the answer to the question most people arrive with, which is whether the file is broken or they are. It reads whether the file arrived whole, whether anything in it points at something that is not there, whether the pictures it names were sent with it, and whether a program is within its rights to refuse it.
Every finding is rewritten here in the same plain words as everything else, with what it means for your work and what to do about it, and the official code and the exact place in the file are kept underneath. One press copies the whole thing as text, which is the point: the person who can fix it is usually the person who sent you the file.
It is a separate answer from the shape check and is shown under it, with its own verdict. This one reads the file. That one walks the shape. A file can be written perfectly and still be a wall made of four loose sheets, and a file full of faults can have nothing at all wrong with its geometry.
On a file whose geometry or pictures are packed down, the check reads how those packets sit in the file without opening them, and says so rather than letting a clean answer claim more than it checked.
Click any part in the picture and it is picked out, with a box round it and its row opened in the list beside it. Pick a row instead and the same part is picked out in the picture. It is one choice seen from two sides, so you never have to hunt for the thing you just clicked. Click empty space to let it go.
There is a light and a plain room here whether or not your file brought any, and both can be turned up, turned down and moved around. A model that looks black almost always looks black for a reason the file will tell you, and being able to swing the light round it is the quickest way to find out which reason. Reset puts the view, the light and the way the model is drawn back to how the file opened, in one press.
If the file carries cameras of its own, they are listed and you can look through each one as the person who built the model framed it, then go back to turning it yourself. A window is rarely the same shape as the one a camera was set up for, so the view is opened out to fit rather than cut down: everything the author framed stays on screen.
Anything the file animates can be played. Pick it from the list, press play, and drag the timeline to move the model by hand a moment at a time. It goes round again until you say otherwise, one plays at a time, and a camera the file animates moves with it. The counts in the report stay exactly as they were while it plays: they describe the file and not the moment you stopped it on.
Measure a distance on it. Click one end, then the other, and the number appears under the picture in whichever unit you are reading the rest of the page in. Each end snaps to the nearest corner of the part you clicked, so measuring the width of a worktop twice gives you the same answer twice. This is the question the page exists for: will the seat sit at 45 cm, will the unit go through the 900 mm gap. Nothing is written to your file, and the lines go when you clear them.
Save the picture as it stands, at twice the size it is on the screen, so it survives being put in a document or sent to a client. Everything you can see is in it: the light you set, the way you chose to draw it, and the floor and the person beside the model if you left them there. A small mark in the corner says where it came from, and one press takes it off.
If the file rigs its parts to a skeleton, the skeleton can be drawn through the model and it bends with whatever is playing. It is shown only on a file that has one, because on every other file it would be an empty drawing.
Beside the three everyday ways of drawing it are two more, kept together under the name X-ray, each of which shows up something the shaded picture hides. One draws the back of every surface in red, which is how a wall built inside out gives itself away, and the parts the file itself says are meant to be seen from both sides are drawn in teal instead so that a curtain does not read as a fault. The other lays squares over the model: squares that stay square mean a picture will sit on that part the way it was drawn, and squares stretched long on one part and tiny on the next mean any picture put on later will look wrong there. Neither has to count anything first, so both answer straight away on a file far too big for the shape check.
A .gltf on its own is a table of contents. The shape usually lives in a .bin file beside it and the textures are separate images. Drop the whole folder in, or select the .gltf and everything that sits with it in one go, and they are matched up here on your machine.
If the .bin is missing, the page says which file to go and find rather than showing you an empty screen. If only some textures are missing, the shape is shown anyway and the missing ones are named.
glTF is the job: .glb, which is one file, and .gltf, which is usually several. Draco and meshopt compressed models are unpacked here on your machine, and so are KTX2 textures.
FBX and OBJ open too, and the shape report works on them the same way. They carry less information about themselves than a glTF does, so the panel about the file has less to say.
Chrome and Edge will offer to install this page as an app, from the icon at the right of the address bar. Installed, it opens in its own window from your desktop or taskbar, starts without waiting for the network, and is the program your computer offers when you double-click a .glb.
Installing it puts only this page on your machine. It does not take over the rest of this site.
This page reads. It will not change your file, and there is nothing here to save. To mend the model, light it, walk through it or send somebody a link to it, use the 3D Thing editor. You can try it on a sample room with the demo account.