Aspect Ratio 1.85 : 1

Width/height proportion of an prototype

This article is about aspect ratio of still images, films, and digital imagery. For some other commodity on this bailiwick, see display aspect ratio.

Common image aspect ratios
.461538:ane (6:13) Usually used in modern smartphones
.5625:1 (9:xvi) Commonly used in mid-belatedly 2010s smartphones
.6:ane (3:5) Commonly used in early 2010s smartphones
.666:i (two:three) Normally used in belatedly 2000s smartphones
1:1 Square. Used in some social networks, and in few devices.
1.xix:1 (xix:16) Fox Movietone attribute ratio
1.25:ane (v:4) Early television & big-format calculator monitors
one.3:1 (4:three) Traditional telly & reckoner monitor standard
1.375:ane (eleven:8) Academy standard moving-picture show attribute ratio
i.43:1 IMAX motion picture film format
ane.five:1 (three:ii) Classic 35 mm still photographic film
i.56:1 (14:ix) Used to create an acceptable picture on both four:iii and sixteen:nine televisions
i.6:ane (16:x) A common computer screen ratio
1.6180:1 ( ${\displaystyle \varphi }$ :1) The golden ratio
ane.half dozen:1 (5:3) A common European widescreen standard; Paramount format;[1] native Super sixteen mm film
1.seven:i (xvi:9) HD video standard; The states & UK digital broadcast Television receiver standard
1.85:1 A common Usa widescreen cinema standard
1.9:one DCI standard for 4K & 2K; Digital IMAX
2:1 Univisium
2.2:1 Standard 70mm film Super Panavision
2.370:1 (64:27) Cinematic widescreen "21:9" consumer standard
ii.35:ane, 2.39:i or 2.4:1 A current widescreen cinema standard
2.414:1 ( δS :1) The silver ratio
2.76:1 Ultra Panavision 70
3.v:one or three.half dozen:1 (32:9 or 18:5) Super Ultrawide, Ultra-WideScreen 3.vi
4:i Polyvision, consisting of three side-by-side frames of 4:3. Used simply in Napoléon (1927)

The aspect ratio of an image is the ratio of its width to its height, and is expressed with ii numbers separated past a colon, such every bit 16:ix, sixteen-to-nine. For the x:y aspect ratio, the image is x units wide and y units high. Common aspect ratios are 1.85:1 and 2.39:1 in cinematography, 4:iii and 16:9 in television photography, and iii:two in nevertheless photography.

Some common examples [edit]

The common picture aspect ratios used in cinemas are one.85:1 and ii.39:ane.^[2] Two common videographic aspect ratios are 4:3 (1.3:1),^[a] the universal video format of the 20th century, and 16:9 (ane.7:1), universal for high-definition television set and European digital television. Other cinema and video aspect ratios exist, only are used infrequently.

In withal camera photography, the most common aspect ratios are 4:three, 3:2, and more recently found in consumer cameras, sixteen:ix.^[3] Other aspect ratios, such as v:3, v:4, and 1:one (square format), are used in photography too, particularly in medium format and big format.

With boob tube, DVD and Blu-ray Disc, converting formats of unequal ratios is accomplished by enlarging the original image to fill the receiving format's display area and cutting off any backlog picture data (zooming and cropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, by stretching (hence distorting) the epitome to fill up the receiving format'southward ratio, or by scaling by different factors in both directions, possibly scaling past a different cistron in the centre and at the edges (as in Broad Zoom manner).

Practical limitations [edit]

In motion motion-picture show formats, the physical size of the picture show expanse betwixt the sprocket perforations determines the epitome's size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The picture itself is 35 mm wide (1.38 in), simply the expanse between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or ane.iii:1.^[iv]

With a space designated for the standard optical soundtrack, and the frame size reduced to maintain an image that is wider than alpine; this resulted in the Academy discontinuity of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio.

Picture palace terminology [edit]

The motion picture industry convention assigns a value of one.0 to the image's top; an anamorphic frame (since 1970, ii.39:i) is often incorrectly described (rounded) as 2.40:i or 2.40 ("two-iv-oh"). Later 1952, a number of aspect ratios were experimented with for anamorphic productions, including two.66:1 and two.55:1.^[5] A SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the discontinuity to two.35:1.^[5] An update in 1970 (PH22.106-1971) changed the aspect ratio to two.39:1 in order to make splices less noticeable.^[v] This aspect ratio of 2.39:1 was confirmed by the most recent revision from Baronial 1993 (SMPTE 195–1993).^[5]

In American cinemas, the mutual projection ratios are 1.85:1 and two.39:1. Some European countries have 1.vi:1 every bit the wide screen standard. The "University ratio" of i.375:1 was used for all movie house films in the sound era until 1953 (with the release of George Stevens' Shane in 1.6:1). During that time, tv set, which had a similar aspect ratio of one.iii:1, became a perceived threat to movie studios. Hollywood responded past creating a large number of wide-screen formats: CinemaScope (up to 2.six:1), Todd-AO (2.twenty:1), and VistaVision (initially 1.50:i, at present 1.6:1 to 2.00:1) to name just a few. The "apartment" 1.85:i attribute ratio was introduced in May 1953, and became i of the most common cinema projection standards in the U.S. and elsewhere.

The goal of these various lenses and aspect ratios was to capture as much of the frame as possible, onto as large an area of the picture every bit possible, in guild to fully utilize the pic being used. Some of the aspect ratios were called to utilize smaller motion-picture show sizes in club to salve movie costs while other aspect ratios were called to utilize larger film sizes in order to produce a wider higher resolution paradigm. In either example the prototype was squeezed horizontally to fit the film'due south frame size and avoid any unused film surface area.^{[half dozen]}

Motion-picture show camera systems [edit]

Development of various motion picture camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack expanse. Ane clever broad screen alternative, VistaVision, used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame, allowing a larger horizontal negative size per frame equally only the vertical size was now restricted by the perforations. There were fifty-fifty a express number of projectors constructed to also run the impress-film horizontally. Generally, yet, the one.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard iv-perforation 35 mm film) to show with the standard projectors bachelor at theaters, and was and so masked in the projector to the U.s. standard of 1.85:1. The format was briefly revived by Lucasfilm in the late 1970s for special effects work that required larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). Information technology went into obsolescence largely due to ameliorate cameras, lenses, and picture stocks bachelor to standard iv-perforation formats, in addition to increased lab costs of making prints in comparing to more standard vertical processes. (The horizontal process was also adapted to seventy mm movie by IMAX, which was first shown at the Osaka '70 Worlds Off-white.)

Super sixteen mm film was frequently used for television production due to its lower price, lack of need for soundtrack space on the movie itself (as it is not projected simply rather transferred to video), and aspect ratio similar to sixteen:9 (the native ratio of Super 16 mm is 15:9). It also can be diddled up to 35 mm for theatrical release and therefore is sometimes used for feature films.

Current video standards [edit]

9:16 (Vertical video) [edit]

Some other trend arising from the widespread employ of smartphones is vertical video (9:16) that is intended for viewing in portrait mode. It was popularized past Snapchat and is also now beingness adopted past Twitter, TikTok, Instagram and Facebook.

one:1 (Square) [edit]

Square displays are rarely used in devices^{[seven] [eight]} and monitors.^[ix] However, video consumption on social apps has grown rapidly and led to the emergence of new video formats more suited to mobile devices that tin be held in horizontal and vertical orientations. In that sense, square video was popularized by mobile apps such as Instagram and Vine and has since been supported by other major social platforms including Facebook and Twitter. Information technology can make full nigh twice as much screen space compared to 16:ix format (when the device is held differently while viewing from how video was recorded).

1.33:1 and 4:3 standard fullscreen [edit]

iv:3 (one.33:i) (more often than not read equally Four-Three, Four-past-Three, or Four-to-Iii) for standard television receiver for fullscreen aspect ratio ane.33:1 has been in use since the invention of moving pic cameras, and many computer monitors used to employ the aforementioned aspect ratio. iv:3 was the attribute ratio used for 35 mm films in the silent era. Information technology is also very close to the 1.375:i Academy ratio, divers by the Academy of Motility Pic Arts and Sciences as a standard after the appearance of optical sound-on-film. By having Television set lucifer this aspect ratio, movies originally photographed on 35 mm movie could be satisfactorily viewed on Television set in the early days of the medium (i.e. the 1940s and the 1950s).

With the adoption of high-definition idiot box, the majority of modernistic televisions are now produced with 16:nine displays instead. Apple tree's iPad series of tablets continue to use iv:3 displays (despite other Apple products typically using widescreen aspect ratios) to improve conform use every bit an east-reader; even so, the 2018 iPad Pro 11-inch uses a 1.43:1 aspect ratio.^[10]

14:9 standard [edit]

14:9 (mostly named every bit 14-by-Nine, Fourteen-Nine, and 14-to-Nine) is the attribute ratio mainly used when the 4:3 programs are cropped.

16:10 standard [edit]

sixteen:10 (viii:five) is an aspect ratio by and large used for estimator displays and tablet computers. The width of the display is 1.6 times its height. This ratio is close to the golden ratio " ${\displaystyle \varphi }$ " which is approximately 1.618. LCD figurer displays using the 16:10 ratio started to appear in the mass marketplace from 2003. By 2008, 16:10 had become the nearly mutual attribute ratio for LCD monitors and laptop displays.^[xi] Since 2010, still, 16:9 has become the mainstream standard, driven past the 1080p standard for high definition television and lower manufacturing costs.^{[12] [13]}

In 2005–2008, 16:10 overtook 4:3 as the most sold aspect ratio for LCD monitors. At the time, 16:10 also had xc% of the notebook market and was the most commonly used aspect ratio for laptops.^[12] However, 16:10 had a short reign equally the most common aspect ratio. Effectually 2008–2010, there was a rapid shift by computer brandish manufacturers to the sixteen:ix aspect ratio and by 2011 16:x had almost disappeared from new mass market products. According to Net Applications, by October 2012 the market share of sixteen:x displays had dropped to less than 23 percentage.^[14]

Notably, Apple used 16:x for all of its MacBook models until 2021, when the fifth-generation MacBook Pro switched to a taller aspect ratio of approximately 1.54:1.^[15] The MacBook Air continues to employ 16:ten as of 2022.^[16]

1.66:ane, one.75:1, ane.77:1, 1.78:ane and 16:9 standard widescreen [edit]

sixteen:nine (1.77:one) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format of HDTV, not-HD digital television and analog widescreen television PALplus. Japan's Hi-Vision originally started with a 5:3 (= fifteen:9) ratio only converted when the international standards group introduced a wider ratio of 5+ 1⁄3 to iii (= xvi:9). Many digital video cameras accept the capability to record in 16:ix (= four²:3ⁱⁱ), and 16:9 is the only widescreen attribute ratio natively supported past the DVD standard. DVD producers can also choose to bear witness even wider ratios such as 1.66:i, ane.75:1, one.77:1 and 1.78:i^[2] within the 16:9 DVD frame by hard matting or calculation black bars within the epitome itself. Nonetheless, it was used ofttimes in British TVs in the United Kingdom in the 1990s. It is at present also existence used in smartphones, laptops and many types of media.

1.85:1 [edit]

Equivalent to integer ratio of 37:20. When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film manufacture from Idiot box, with 1 of the most mutual being the i.85:i ratio.^{[17] [18]}

2:i standard [edit]

The 2:1 aspect ratio was first used in the 1950s for the RKO Superscope format.^{[19] [20]}

Since 1998, cinematographer Vittorio Storaro has advocated for a format named "Univisium" that uses a 2:1 format.^[21] It is designed to be a compromise between the cinema two.39:i aspect ratio and the Hard disk-Tv set circulate 16:9 ratio. Univisium has gained little traction in the theatrical motion-picture show market, but has recently been used by Netflix and Amazon Video for productions such every bit House of Cards and Transparent, respectively. This aspect ratio is like to the 1.nine:one standard acquisition formats mandated by these content platforms and is not necessarily a creative choice.^[22]

Moreover, some mobile devices, such as the LG G6, LG V30, Huawei Mate 10 Pro, Google Pixel 2 Xl, OnePlus 5T and Sony Xperia XZ3, are embracing the 2:one format (advertised as 18:9), likewise as the Samsung Galaxy S8, Samsung Milky way Note 8, Samsung Milky way S9 and Samsung Galaxy Note ix with a slightly like 18.5:9 format.^{[23] [24]} The Apple tree iPhone X likewise has a similar screen ratio of 19.5:9 (2.xvi:1).

2.00:1, 2.20:1, 2.35:1, 2.39:1, 2.40:1, two.55:1, 2.76:1 and 21:9 standard widescreen [edit]

Anamorphic format is the cinematography technique of shooting a widescreen picture show on standard 35 mm moving picture or other visual recording media with a not-widescreen native aspect ratio. When projected, images accept an approximate 2.00:1, two.20:ane, 2.35:one, ii.39:1, two.40:1, 2.55.i and 2.76.1 (oft rounded to 21:ix) aspect ratio. "21:9 attribute ratio" is really 64:27 (= 4³:3³), or approximately two.37:1, and is about both cinematic movie attribute ratios. About Indian Bollywood films were shot in the 1.37:1 ratio until 1972, when 2.39:i became standard for all Bollywood movies.

Mobile devices are now starting to use the 21:9 format, such equally the Sony Xperia 1.

Obtaining height, width, and expanse of the screen [edit]

Ofttimes, screen specifications are given past their diagonal length. The following formulae can be used to find the height (h), width (w) and area (A), where r stands for ratio, written every bit a fraction of x past y, and d for diagonal length.

${\displaystyle r={\frac {x}{y}}}$

${\displaystyle h={\frac {d}{\sqrt {r^{2}+ane}}}={\frac {y\times d}{\sqrt {x^{2}+y^{2}}}}}$

${\displaystyle due west={\frac {r\times d}{\sqrt {{r^{2}}+ane}}}={\frac {x\times d}{\sqrt {x^{2}+y^{2}}}}}$

${\displaystyle A={\frac {r\times d^{2}}{{r^{2}}+1}}\quad ={\frac {x\times y\times d^{2}}{x^{2}+y^{2}}}}$

Distinctions [edit]

This article primarily addresses the aspect ratio of images every bit displayed, which is more formally referred to as the display aspect ratio (DAR). In digital images, there is a distinction with the storage aspect ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with foursquare pixels, then these ratios concur. If, instead, non-foursquare ("rectangular") pixels are used, and so these ratios differ. The attribute ratio of the pixels themselves is known as the pixel aspect ratio (PAR) – for square pixels this is i:1 – and these are related by the identity:

SAR × PAR = DAR.

Rearranging (solving for PAR) yields:

PAR = DAR/SAR.

For case, a 640 × 480 VGA image has a SAR of 640/480 = four:3 and, if displayed on a 4:iii display (DAR = four:iii), has square pixels, hence a PAR of 1:1. Past contrast, a 720 × 576 D-ane PAL image has a SAR of 720/576 = 5:4, simply is displayed on a iv:iii brandish (DAR = iv:iii), so by this formula it would take a PAR of (4:3)/(five:4) = xvi:15.

However, because standard definition digital video was originally based on digitally sampling analog television, the 720 horizontal pixels actually capture a slightly wider prototype to avoid loss of the original analog motion picture. In actual images, these extra pixels are ofttimes partly or entirely black, as only the center 704 horizontal pixels carry actual four:three or 16:9 image. Hence, the bodily pixel aspect ratio for PAL video is a little different from that given by the formula, specifically 12:11 for PAL and 10:11 for NTSC. For consistency, the same effective pixel aspect ratios are used even for standard definition digital video originated in digital course rather than converted from analog. For more details refer to the principal commodity.

In analog images such equally moving picture at that place is no notion of pixel, nor notion of SAR or PAR, and "aspect ratio" refers unambiguously to DAR. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert betwixt resolutions.

Non-square pixels arise frequently in early digital TV standards, related to digitalization of analog TV signals – whose horizontal and vertical resolutions differ and are thus best described past not-square pixels – and as well in some digital videocameras and estimator brandish modes, such as Colour Graphics Adapter (CGA). Today they arise particularly in transcoding between resolutions with different SARs.

DAR is also known as image attribute ratio and picture show aspect ratio, though the latter can be confused with pixel attribute ratio; PAR is also known as sample aspect ratio, though it tin also exist confused with storage aspect ratio.

Previous and currently used aspect ratios [edit]

Come across list of common resolutions for a listing of computer resolutions and aspect ratios.

See list of film formats for a full listing of motion-picture show formats, including their attribute ratios.

Comparing of several film attribute ratios with the heights forced to exist equal.

• 1.19:1 (xix:xvi): Sometimes referred to as the Movietone ratio, this ratio was used briefly during the transitional period when the film industry was converting to audio, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate ane.3 aperture in printing, resulting in an almost foursquare image. Films shot in this ratio are often projected or transferred to video incorrectly using a ane.375:1 mask or squashed to 1.375:1. Examples of films shot in the Movietone ratio include Sunrise: A Song of Two Humans, Yard, Hallelujah!, and, significantly more recently, The Lighthouse.^{[25] [26]}
• 1.25:1 (5:4): The once-pop aspect for larger format computer monitors, specially in the guise of mass-produced 17" and 19" LCD panels or xix" and 21" CRTs, using 1280×1024 (SXGA) or similar resolutions. Notably 1 of the few popular display attribute ratios narrower than four:3, and 1 popularised past business (CAD, DTP) rather than entertainment use, as it is well-suited to total-page layout editing. Historically, 5:4 was also the original aspect ratio of early 405-line television set broadcasts, which progressed to a wider 4:iii every bit the thought of broadcasting cinema films gained traction.
• ane.3:1 (4:3): 35 mm original silent movie ratio, today unremarkably known in Tv set and video as iv:3. Also standard ratio for MPEG-2 video pinch. This format is still used in many personal video cameras today and has influenced the selection or pattern of other aspect ratios. It is the standard Super 35 mm ratio.
• one.37:1 (48:35): 16 mm and 35 mm standard ratio.
• one.375:1 (11:8): 35 mm full-screen sound film prototype, nearly universal in films between 1932 and 1953. Officially adopted as the University ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used in other contexts.
• 1.43:1: IMAX format. IMAX productions employ 70 mm wide motion picture (the aforementioned as used for 70 mm feature films), but the moving picture runs through the photographic camera and projector horizontally. This allows for a physically larger surface area for each prototype.
• 1.5:1 (iii:2): The attribute ratio of 35 mm film used for still photography when 8 perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally. Used on the Chrome Bone-based Chromebook Pixel notebook PC, the Game Male child Accelerate portable game console, the Surface Pro 3 laplet, and Surface Studio.
• 1.v:i (fourteen:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 and 16:9. When converted to a 16:nine frame, in that location is slight pillarboxing, while conversion to 4:three creates slight letterboxing. All widescreen content on ABC Family'southward SD feed until January 2016 was presented in this ratio.
• 1.6:i (16:10 = 8:5): Widescreen computer monitor ratio (for instance, 1920×1200 resolution).
• 1.6:one (v:3): 35 mm widescreen ratio, originally invented by Paramount Pictures, later a standard among several European countries.^{[ which? ]} It is also the native Super 16 mm frame ratio. Sometimes this ratio is rounded to 1.67:1. From the belatedly 1980s to the early 2000s, Walt Disney Feature Animation's CAPS plan animated their features in the ane.6:i ratio (a compromise between the 1.85:1 theatrical ratio and the 1.iii:1 ratio used for home video); this format is also used by the Nintendo 3DS's top screen.
• 1.75:one (7:4): Early on 35 mm widescreen ratio, primarily used by MGM and Warner Bros. between 1953 and 1955 and since abandoned, though Disney has cropped some of its post-1950s full-screen films to this ratio for DVD, including The Jungle Book.
• 1.7:1 (xvi:9 = 4ⁱⁱ:3²): Video widescreen standard, used in high-definition television, one of three ratios specified for MPEG-two video pinch. Also used increasingly in personal video cameras. Sometimes this ratio is rounded to one.78:1.
• 1.85:1 (~37:20): 35 mm Usa and Great britain widescreen standard for theatrical film. Introduced by Universal Pictures in May 1953. Projects approximately 3 perforations ("perfs") of paradigm space per iv-perf frame; films can be shot in 3-perf to save cost of film stock. Also the ratio of Ultra xvi mm. I of ii common formats in digital cinema, where it is called "flat".
• 1.875:1 (xv:viii): HDTV ratio used by Silicon Graphics computers in the 1990s, with the resolution being specified as 1920×1024.
• 1.8962:one (256:135): SMPTE/DCI digital picture palace basic resolution container aspect ratio, sometimes rounded to 1.896:one^[27] or one.nine:1^{[28] [29]} (also given every bit 1.90:1).^{[30] [31]} Used by Diao Yinan's The Wild Goose Lake.^[31]
• 2:1: Recently popularized by the Cerise Digital Cinema Camera Visitor. Original SuperScope ratio, as well used in Univisium. Used as a apartment ratio for some American studios in the 1950s and abased in the 1960s. Also used in contempo mobile phones such as the LG G6, Google Pixel 2 XL, HTC U11+, Xiaomi MIX 2S, and Huawei Mate 10 Pro, while the Samsung Galaxy S8, Note 8, and S9 use the like eighteen.5:9 ratio.
• 2.165:1 (~28:13): Used by the screens of some iPhone models since 2017, including the iPhone Ten, XS, XS Max, 11, 11 Pro, and xi Pro Max.
• ii.208:1 (~11:5): lxx mm standard. Originally developed for Todd-AO in the 1950s. Specified in MPEG-two as 2.20:i, but hardly used.
• 2.35:1 (~47:20): 35 mm anamorphic prior to 1970, used past CinemaScope ("'Scope") and early Panavision. The anamorphic standard has subtly changed so that gimmicky anamorphic productions are actually 2.39:1,^[2] just often referred to equally two.35:1 anyhow, due to erstwhile convention. (Note that anamorphic refers to the compression of the prototype on film to maximize an area slightly taller than standard iv-perf Academy aperture, but presents the widest of attribute ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.^{[ clarification needed ]}
• 2.370:1 (64:27 = ivⁱⁱⁱ:3³): TVs were produced with this aspect ratio between 2009 and 2012^[32] and marketed equally "21:9 movie theatre displays". But this aspect ratio is however seen on some higher-end monitors, which are sometimes chosen UltraWide monitors.
• ii.39:one (~43:18): 35 mm anamorphic from 1970 onwards. Attribute ratio of current anamorphic widescreen theatrical viewings, commercials, and some music videos. Often commercially branded as Panavision format or "'Scope". One of two common formats in digital cinema, where it is called "scope".
• 2.4:1 (12:5): Rounded annotation of 2.39:1, also every bit ii.40:one. Blu-ray Disc film releases may use only 800 instead of 803 or 804 lines of the 1920×1080 resolution, resulting in an even 2.4:ane aspect ratio.
• ii.55:ane (~51:twenty): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.
• 2.59:1 (~70:27): Cinerama at total height (three specially captured 35 mm images projected side by side into one composite widescreen image).
• 2.6:1 (8:3): Total-frame output from Super 16 mm negative when an anamorphic lens system has been used. Effectively, an image that is of the ratio 24:9 is squashed onto the native 15:9 aspect ratio of a Super xvi mm negative. Also used by Kirill Serebrennikov for Leto (2018).
• 2.76:1 (69:25): Ultra Panavision lxx/MGM Camera 65 (65 mm with ane.25× anamorphic clasp). Used only on a handful of films between 1957 and 1966 and some in the 2010s, for some sequences of How the West Was Won (1962) with a slight crop when converted to 3-strip Cinerama, and films such as Information technology's a Mad, Mad, Mad, Mad World (1963) and Ben-Hur (1959). More recently, Quentin Tarantino used it for The Hateful Eight (2015); Gareth Edwards used the process for shooting Rogue One (2016), simply the epitome was cropped to 2.39:1 in mail service.
• 3.5:1 (32:9): In 2017, Samsung and Phillips appear "Super UltraWide displays", with aspect ratio of 32:9.
• 3.6:i (xviii:5): In 2016, IMAX announced the release of films in "Ultra-WideScreen 3.half dozen" format,^[33] with an aspect ratio of 36:x.^[34] Ultra-WideScreen 3.6 video format didn't spread, as cinemas in an even wider ScreenX 270° format were released.^[35]
• four:1: Rare use of Polyvision, three 35 mm 1.3:1 images projected side by side. First used in 1927 on Abel Gance'southward Napoléon. This is likewise the aspect ratio of Kiesza's music video for her 2014 rendtion of "What is Love". ^[36]
• 12:1: Circle-Vision 360° adult by the Walt Disney Company in 1955 for apply in Disneyland. Uses 9 four:3 35 mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications.

Aspect ratio releases [edit]

Original attribute ratio (OAR) [edit]

Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced, every bit envisioned past the people involved in the creation of the work. As an example, the moving picture Gladiator was released to theaters in the 2.39:ane aspect ratio. It was filmed in Super 35 and, in addition to being presented in cinemas and goggle box in the Original Aspect Ratio of 2.39:1, information technology was also broadcast without the matte, altering the attribute ratio to the television standard of i.three:1. Because of the varied means in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used.

Modified attribute ratio (MAR) [edit]

Modified Aspect Ratio is a dwelling house cinema term for the attribute ratio or dimensions in which a moving-picture show was modified to fit a specific type of screen, as opposed to original attribute ratio. Modified aspect ratios are usually either 1.3:1 (historically), or (with the advent of widescreen tv sets) 1.seven:1 attribute ratio. 1.3:1 was the modified aspect ratio used historically on 4:3 broadcast tv set and home videotape formats such as VHS and Beta. A modified aspect ratio transfer is accomplished by means of pan and scan or EAR (Expanded Aspect Ratio)/open up matte, the latter pregnant removing the cinematic matte from a 1.85:1 film to open up the full 1.3:1 frame or from 2.39:1 to 1.9:1 in IMAX. Another name for it is rescaled aspect ratio.

Problems in flick and telly [edit]

Multiple aspect ratios create additional burdens on directors and the public, and defoliation among Telly broadcasters. It is common for a widescreen flick to be presented in an contradistinct format (cropped, letterboxed or expanded across the original aspect ratio). It is also not uncommon for windowboxing to occur (when letterbox and pillarbox happen simultaneously). For instance, a 16:9 broadcast could embed a 4:3 commercial within the 16:9 image area. A viewer watching on a standard iv:3 (non-widescreen) boob tube would see a 4:three image of the commercial with two sets of blackness stripes, vertical and horizontal (windowboxing or the stamp postage effect). A similar scenario may also occur for a widescreen set owner when viewing xvi:9 material embedded in a 4:3 frame, then watching that in xvi:9. Active Format Description is a mechanism used in digital dissemination to avoid this problem. It is as well common that a iv:iii image is stretched horizontally to fit a 16:9 screen to avoid pillarboxing only distorts the prototype so subjects appear short and fat.

Both PAL and NTSC have provision for some information pulses contained within the video betoken used to point the aspect ratio (See ITU-R BT.1119-ane – Widescreen signaling for dissemination). These pulses are detected by television sets that have widescreen displays and cause the television to automatically switch to 16:9 display mode. When iv:three cloth is included (such equally the aforementioned commercial), the television switches to a iv:3 display mode to correctly display the material. Where a video signal is transmitted via a European SCART connectedness, one of the status lines is used to signal xvi:9 material also.

Still photography [edit]

Mutual aspect ratios in still photography include:

• 1:ane
• 5:4 (1.25:1)
• four:3 (one.3:1)
• 3:2 (i.5:1)
• 5:iii (ane.6:1)
• xvi:9 (1.7:i)
• 3:1

Many digital yet cameras offer user options for selecting multiple image attribute ratios. Some achieve this through the use of multi-aspect sensors (notably Panasonic), while others simply ingather their native image format to have the output match the desired image aspect ratio.

1:1 [edit]

1:ane is the classic Kodak paradigm, and is bachelor as a choice in some digital even so cameras, and hearkens back to the days of film cameras when the square image was pop with photographers using twin lens reflex cameras. These medium format cameras used 120 film rolled onto spools. The 6 × vi cm image size was the archetype 1:1 format in the recent past. 120 moving-picture show can however be institute and used today. Many Polaroid instant films were designed as square formats. Furthermore, up until Baronial 2015, photo-sharing site Instagram merely allowed users to upload images in 1:i format. In 2017, Fujifilm added the ane:one Instax Square format to their lineup of instant film cameras.

5:4 [edit]

Common in big and medium format photography ('6x7' cameras, actual size 56mm x 70mm), which fits the common impress paper size of eight"×x" without cropping and is yet in common utilise for prints from digital cameras.

4:3 [edit]

4:iii is used by most digital point-and-shoot cameras, Four Thirds system, Micro Four Thirds organisation cameras and medium format 645 cameras. The 4:3 digital format popularity was developed to match the then prevailing digital displays of the time, 4:3 calculator monitors.

The next several formats have their roots in archetype picture photography epitome sizes, both the classic 35 mm film photographic camera, and the multiple format Avant-garde Photo System (APS) motion picture camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).

three:2 [edit]

3:ii is used past classic 35 mm flick cameras using a 36 mm × 24 mm image size, and their digital derivatives represented by DSLRs. Typical DSLRs come in two flavors, the so-called professional "full frame" (36 mm × 24 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as APS and the "-C" refers to "Classic" mode, which exposed images over a smaller area (25.one mm × 16.seven mm) simply retaining the same "classic" 3:two proportions equally total frame 35 mm film cameras.

When discussing DSLRs and their non-SLR derivatives, the term APS-C has go an almost generic term. The 2 major photographic camera manufacturers Canon and Nikon each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Catechism actually developed ii standards, APS-C and a slightly larger area APS-H (non to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls DX. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the archetype iii:2 prototype proportions that these sensors are generally known as an "APS-C" sized sensor.

The reason for DSLR's image sensors being the flatter 3:two versus the taller point-and-shoot 4:3 is that DSLRs were designed to friction match the legacy 35 mm SLR movie, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and UXGA all being four:3. Widescreen computer monitors did not become popular until the advent of HDTV, which uses a 16:9 image attribute ratio.

16:nine [edit]

Known as APS-H (30.2 mm × 16.7 mm), with the "-H" cogent "Loftier Definition", the 16:9 format is besides the standard image aspect ratio for HDTV. 16:ix is gaining popularity as a format in all classes of consumer still cameras which besides shoot Loftier Definition (Hard disk) video. When still cameras accept an HD video capability, some can also record stills in the 16:9 format, ideal for brandish on HD televisions and widescreen computer displays.

3:1 [edit]

3:1 is even so another format that tin find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:i format was used for panorama photography. The APS-P panorama standard is the to the lowest degree adhered to whatsoever APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the prototype is much longer than it is alpine, in the classic "panorama" fashion.

Mutual print sizes in the U.S. (in inches) include 4×6 (1.5), 5×7 (one.4), four×v and 8×10 (i.25), and 11×14 (1.27); large format cameras typically use 1 of these aspect ratios. Medium-format cameras typically have format designated by nominal sizes in centimeters (6×half-dozen, 6×vii, six×nine, 6×four.5), but these numbers should not exist interpreted as exact in computing aspect ratios. For example, the usable meridian of 120-format roll moving-picture show is 56mm, so a width of 70mm (as in 6×vii) yields an aspect ratio of 4:five — ideal for enlarging to make an 8×10" portrait. Print sizes are usually defined by their portrait dimensions (tall) while equipment aspect ratios are defined by their landscape dimensions (broad, flipped sideways). A good instance of this a 4×half dozen print (6 inch broad past 4 inch tall landscape) perfectly matches the iii:two aspect ratio of a DSLR/35 mm, since 6/2=3 and four/ii=2.

For analog project of photographic slides, projector and screen use a 1:ane aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection applied science typically supports vertically oriented images but at a fraction of the resolution of landscape-oriented images. For example, projecting a digital still image having a 3:2 aspect ratio on a sixteen:9 projector employs 84.three% of available resolution in horizontal orientation, just only 37.5% in vertical orientation.

See also [edit]

• Active Format Description (AFD)
• Alphabetize of manufactures related to motion pictures
• Paper size
• Shoot and protect
• Glossary of video terms
• Ultrawide formats

Notes [edit]

1. ^ Repeating decimal note

Citations [edit]

1. ^ "BBC Academy - University - Across HD". 27 June 2017. Archived from the original on 2017-06-27.
2. ^ ^{a b c} The ii.39:one ratio is usually labeled ii.40:one, e.g., in the American Society of Cinematographers' American Cinematographer Manual (Many widescreen films before the 1970 SMPTE revision used ii.35:1).
3. ^ "Panasonic Introduces 2 New Cameras". Bharat: Tech Tree. Archived from the original on 2009-01-23.
4. ^ Burum, Stephen (2004). American Cinematographer Manual (ninth ed.). ASC Press. ISBN0-935578-24-ii.
5. ^ ^{a b c d} "ALEXA Anamorphic De-squeeze". Arri. 2011-07-07. Archived from the original on 2021-09-15. Retrieved 2014-06-21 .
6. ^ "Anamorphic At present" (PDF). Film and Digital Times (53): 24–31. April 2013. Retrieved 2014-06-21 .
7. ^ "BlackBerry Passport – Total phone specifications". world wide web.gsmarena.com . Retrieved 2018-11-29 .
8. ^ "Sony SmartWatch 3 SWR50 – Full phone specifications". www.gsmarena.com . Retrieved 2019-01-24 .
9. ^ "Eizo'south 27-inch 3K display is perfectly square - Geek.com". Geek.com. 2014-11-xx. Archived from the original on 2018-11-30. Retrieved 2018-11-29 .
10. ^ McElhearn, Kirk (2010-02-01). "Why Apple chose the iPad's screen format". Macworld . Retrieved 2019-07-24 .
11. ^ Knight, Dan (2008-09-19). "With 10% of the US Notebook Market, Where Will Apple Get Adjacent?".
12. ^ ^{a b} "Production Planners and Marketers Must Deed Before 16:nine Panels Replace Mainstream 16:10 Notebook PC and Monitor LCD Panels, New DisplaySearch Topical Report Advises". DisplaySearch. 2008-07-01. Retrieved 2011-09-08 .
13. ^ Ricker, Thomas (2008-07-02). "Widescreen LCDs going widescreen by 2010". Engadget.
14. ^ "Screen Resolutions". Net Applications. October 2012. Retrieved 2013-04-xx .
15. ^ "MacBook Pro 16 vs. MacBook Pro fourteen: All the Differences". Digital Trends. 2021-x-18. Retrieved 2021-eleven-27 .
16. ^ Apple. "MacBook Air - Technical Specifications". Retrieved 2022-01-07 .
17. ^ Pautz, Michelle C. (2017-12-29). Civil Servants on the Silver Screen: Hollywood's Depiction of Government and Bureaucrats. Lexington Books. p. 31. ISBN978-ane-4985-3913-5.
18. ^ Berger, John L. (2019). "Attribute Ratios and Camera Formats". www.widescreen.org . Retrieved 2018-10-thirty .
19. ^ "Widescreen Museum – CinemaScope Derivatives – Superscope one". www.widescreenmuseum.com . Retrieved 2018-xi-02 .
20. ^ "The Aspect Ratio of ii.00 : 1 is Everywhere | VashiVisuals". vashivisuals.com . Retrieved 2018-eleven-02 .
21. ^ Eelvee (4 March 2007). ". . : : VITTORIO STORARO : : . .: What is UNIVISIUM?".
22. ^ O'Falt, Chris (2017-04-04). "What Amazon and Netflix's Demand for 4K Means for Documentaries". IndieWire . Retrieved 2018-05-x .
23. ^ Petrov, Daniel. "And so, what is this 2:i Univisium brandish ratio on the LG G6 and likely the S8?". Phone Arena.
24. ^ The official Accolade website displays that it has an 18:9 ratio (visit the gaming tab).
25. ^ Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930, New York, Simon & Schuster (1997), p. 222.
26. ^ "'The Lighthouse,' 'The Witch' and the Horror of Robert Eggers". The Hollywood Reporter. 29 October 2019. Retrieved 2019-11-10 .
27. ^ Nowak, Arne (October 2010). "Digital Cinema Technologies from the Archive's Perspective" (PDF). International Federation of Movie Archives. p. 4. Retrieved May 16, 2016.
28. ^ "Picking the Correct Aspect Ratio". Simple DCP. Jan 1, 2018. Retrieved 28 January 2022.
29. ^ Owen, Aaron (Baronial 14, 2020). "Things to Consider Earlier Making a DCP: Aspect Ratio & Frame Size". Cinematiq. Retrieved 28 January 2022.
30. ^ "Aspect Ratio Cheat Canvass". Firehouse Creative. Retrieved 28 January 2022.
31. ^ ^{a b} Kauffman, Jeffrey (September 19, 2020). "The Wild Goose Lake Blu-ray Review". Blu-ray.com. Retrieved 28 Jan 2022. The Wild Goose Lake is presented on Blu-ray courtesy of Pic Movement with an AVC encoded 1080p transfer in ane.xc:1.
32. ^ Goddard, Louis. Philips discontinuing super-wide Cinema 21:9 TVs due to lack of demand. The Verge. 2012-08-28. Retrieved 2013-03-18.
33. ^ "Voyage of Time: The IMAX® Experience in Ultra-Widescreen". IMAX. December vii, 2016. Retrieved Apr 27, 2018.
34. ^ Kristopher Tapley (Dec v, 2016). "'Ultra Widescreen' Version of Terrence Malick'southward 'Voyage of Time' Set for Release". Multifariousness . Retrieved Apr 27, 2018.
35. ^ Aftab, Kaleem. "Introducing Screen X, Movie theatre in 270 Degrees | Filmmaker Mag". Filmmaker Magazine . Retrieved 2018-10-12 .
36. ^ "'Kiesza - What Is Love (Official Video)'". Retrieved October x, 2022.

Sources [edit]

On aspect ratios [edit]

• "NEC Monitor Engineering science Guide". Archived from the original on 2006-05-21. Retrieved 2006-07-24 .
• The Letterbox and Widescreen Advocacy Folio
• American Widescreen Museum
• Widescreen Apertures and Aspect Ratios
• Aspect – combined attribute ratio, frame size and bitrate calculator at the Wayback Machine (archived December 7, 2013)
• Aspect Ratios Explained: Role 1 Role 2 Archived 2013-06-04 at the Wayback Machine
• Explanation of Television Aspect Ratio format description codes
• IMDb – Number of DVDs for each attribute ratio at the Wayback Machine (archived June 24, 2009)
• SCADplus: 16:9 Activity plan for the television in the xvi:9 screen format – European Wedlock

Aspect Ratio 1.85 : 1,

Source: https://en.wikipedia.org/wiki/Aspect_ratio_(image)

Posted by: hutchinsonloulty.blogspot.com

Share this post