Aspect ratio (image)

263:, 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 as only the vertical size was now restricted by the perforations. There were even a limited number of projectors constructed to also run the print-film horizontally. Generally, however, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard four-perforation 2389:(MAR) is a home cinema term for the aspect ratio or dimensions in which a film was modified to fit a specific type of screen, as opposed to original aspect ratio. Modified aspect ratios are usually either 1.33:1 (historically), or (with the advent of widescreen television sets) 1.43:1 aspect ratio. 1.33:1 was the modified aspect ratio used historically on 4:3 broadcast television and home videotape formats such as VHS and Beta. A modified aspect ratio transfer is achieved by means of 1365:

only the center 704 horizontal pixels carry actual 4:3 or 16:9 image. Hence, the actual pixel aspect ratio PAR 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 form rather than converted from analog. For more details refer to the

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645 cameras. The 4:3 digital format popularity was developed to match the then prevailing digital displays of the time, 4:3 computer monitors. This aspect ratio is also wider than the popular 16:9, thus being very popular among different E-Sports tournaments. The next several formats have their roots

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Square displays are rarely used in devices and monitors. Nonetheless, video consumption on social apps has grown rapidly and led to the emergence of new video formats more suited to mobile devices that can be held in horizontal and vertical orientations. In that sense, square video was popularized by

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in the late 1970s for special effects work that required a larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). It went into obsolescence largely due to better cameras, lenses, and film stocks available for standard four-perforation

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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 film as possible, in order to fully utilize the film being used. Some of the aspect ratios were chosen to utilize smaller film sizes in order to save film costs while other

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each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls

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However, because standard definition digital video was originally based on digitally sampling analog television, the 720 horizontal pixels actually capture a slightly wider image to avoid loss of the original analog picture. In actual images, these extra pixels are often partly or entirely black, as

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For analog projection of photographic slides, projector and screen use a 1:1 aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection technology typically supports vertically oriented images only at a fraction of the resolution of landscape-oriented

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is 56mm, so a width of 70mm (as in 6×7) yields an aspect ratio of 4:5 — 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 (wide, flipped sideways). A good example

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In analog images such as film there 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

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The reason for DSLR's image sensors being the flatter 3:2 versus the taller point-and-shoot 4:3 is that DSLRs were designed to match the legacy 35 mm SLR film, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and

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was frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm

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Common in large and medium format photography ('6x7' cameras, actual size 56 mm × 70 mm (2.2 in × 2.8 in)), which fits the common print paper size of 8 in × 10 in (20.3 cm × 25.4 cm) without cropping and is still in common use for prints

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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 4:3 (non-widescreen) television would see a 4:3 image of the commercial with 2 sets of black stripes, vertical and

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35 mm widescreen aspect ratio used by The Metro Goldwyn Mayer Company and The Warner Brothers Company from 1953 to 1955 and since abandoned and The Walt Disney Company has cropped the old classic post-1950s 1.33:1 fullscreen films to the 1.75:1 widescreen aspect ratio of their DVDs including

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The once-popular aspect for larger format computer monitors, especially in the guise of mass-produced 17" and 19" LCD panels or 19" and 21" CRTs, using 1280×1024 (SXGA) or similar resolutions. Notably one of the few popular display aspect ratios narrower than 4:3, and one popularised by business

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In 2005–2008, 16:10 (1.6:1) overtook 4:3 as the most sold aspect ratio for LCD monitors. At the time, 16:10 also had 90% of the notebook market and was the most commonly used aspect ratio for laptops. However, 16:10 had a short reign as the most common aspect ratio. Around 2008–2010, there was a

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specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1. An update in 1970 (PH22.106-1971) changed the aspect ratio to 2.40:1 in order to make splices less noticeable. This aspect ratio of 2.40:1 was confirmed by the most recent revision from

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for broadcasting). These pulses are detected by television sets that have widescreen displays and cause the television to automatically switch to 16:9 display mode. When 4:3 material is included (such as the aforementioned commercial), the television switches to a 4:3 display mode to correctly

1539:(CAD, DTP) rather than entertainment use, as it is well-suited to full-page layout editing. Historically, 5:4 was also the original aspect ratio of early 405-line television broadcasts, which progressed to a wider 4:3 as the idea of broadcasting cinema films gained traction. 2791:

photography. The APS-P panorama standard is the least adhered to any APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the image is much longer than it is tall, in the classic "panorama" style.

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Known as APS-H (30.2 mm × 16.7 mm), with the "-H" denoting "High Definition", the 16:9 format is also the standard image aspect ratio for HDTV. 16:9 is gaining popularity as a format in all classes of consumer still cameras which also shoot High Definition

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Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose horizontal and vertical resolutions differ and are thus best described by non-square pixels – and also in some digital videocameras and computer

148:) to retain the original format's aspect ratio, by stretching (hence distorting) the image to fill the receiving format's ratio, or by scaling by different factors in both directions, possibly scaling by a different factor in the center and at the edges (as in 2656:

1:1 is the classic Kodak image, and is available as a choice in some digital still cameras, and hearkens back to the days of film cameras when the square image was popular with photographers using twin lens reflex cameras. These medium format cameras used

1056: 2754:. 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 classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor. 172:

in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 1.33:1.

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aperture in printing, resulting in an almost square image. Films shot in this ratio are often projected or transferred to video incorrectly using a 1.375:1 mask or squashed to 1.375:1. Examples of films shot in the Movietone ratio include

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frame (since 1970, approximately 2.39:1) is often incorrectly described (rounded) as either 2.4:1 or 2.40:1. After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1. A

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photography, the most common aspect ratios are 4:3, 3:2 (1.5:1), and more recently found in consumer cameras, 16:9. Other aspect ratios, such as 5:3, 5:4, and 1:1 (square format), are used in photography as well, particularly in

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The development of various film camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack area. One clever wide screen alternative,

2734:. 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 2117:

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 16 mm negative. Also used by

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aspect ratios were chosen to use larger film sizes in order to produce a wider higher resolution image. In either case the image was squeezed horizontally to fit the film's frame size and avoid any unused film area.

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format. IMAX productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each

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cameras typically have format designated by nominal sizes in centimeters (6×6, 6×7, 6×9, 6×4.5), but these numbers should not be interpreted as exact in computing aspect ratios. For example, the usable height of

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In 2016, IMAX announced the release of films in "Ultra-WideScreen 3.6" format, with an aspect ratio of 36:10. Ultra-WideScreen 3.6 video format didn't spread, as cinemas in an even wider ScreenX 270° format were

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ratio, this ratio was used briefly during the transitional period when the film industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate

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images. For example, projecting a digital still image having a 3:2 aspect ratio on a 16:9 projector employs 84.3% of available resolution in horizontal orientation, but only 37.5% in vertical orientation.

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horizontal (windowboxing or the postage stamp effect). A similar scenario may also occur for a widescreen set owner when viewing 16:9 material embedded in a 4:3 frame, and then watching that in 16:9.

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and the "-C" refers to "Classic" mode, which exposed images over a smaller area (25.1 mm × 16.7 mm) but retaining the same "classic" 3:2 proportions as full frame 35 mm film cameras.

2378:, altering the aspect ratio to the television standard of 1.33:1. Because of the varied ways in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used. 531:

or adding black bars within the image itself. The 16:9 aspect ratio was used often in British TVs in the United Kingdom in the 1990s, and is also used in how smartphones, laptops, and desktops.

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BT.1379 - Framing of wide-screen 16:9 and standard 4:3 aspect ratio productions to achieve a common production format during a transition period to wide-screen 16:9 production and broadcasting

355:. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s). 246:(up to 2.00:1) to name just a few. The flat 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the United States and elsewhere. 2487:

Multiple aspect ratios create additional burdens on directors and the public, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format (

1726:, later a standard among several European countries. It is also the native Super 16 mm frame ratio. Sometimes this ratio is rounded to 1.67:1. From the late 1980s to the early 2000s, 441:" which is approximately 1.618. LCD computer displays using the 16:10 ratio started to appear in the mass market from 2003. By 2008, 16:10 had become the most common aspect ratio for 272:

formats, in addition to increased lab costs for making prints in comparison to more standard vertical processes. (The horizontal process was also adapted to 70 mm film by

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4:3 (1.33:1) (generally read as Four-Three, Four-by-Three, or Four-to-Three) for standard television for fullscreen aspect ratio 1.33:1 has been in use since the invention of

132:, converting formats of unequal ratios is achieved by enlarging the original image to fill the receiving format's display area and cutting off any excess picture information ( 267:) to show with the standard projectors available at theaters, and was then masked in the projector to the United States standard of 1.85:1. The format was briefly revived by 2787:

3:1 is yet another format that can find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:1 format was used for

1965:. The anamorphic standard has subtly changed so that contemporary anamorphic productions are actually 2.39:1, but often referred to as 2.35:1 anyway, due to old convention. 939: 2910: 1841: 202: 1288:, then these ratios agree. If, instead, non-square ("rectangular") pixels are used, then these ratios differ. The aspect ratio of the pixels themselves is known as the 2779:. When still cameras have an HD video capability, some can also record stills in the 16:9 format, ideal for display on HD televisions and widescreen computer displays. 2718:) film 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). 1563:

video compression. This format is still used in many personal video cameras today and has influenced the selection or design of other aspect ratios. It is the standard

837: 439: 592:, respectively. This aspect ratio is similar to the 1.90:1 standard acquisition formats mandated by these content platforms and is not necessarily a creative choice. 2061:

Rounded notation of 2.39:1 also known as 2.40:1. All film releases may use 800 lines of the 1920×800 resolution resulting in the 2.40:1 aspect ratio of Blu-ray Disc.

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displays. Since 2010, however, 16:9 has become the mainstream standard, driven by the 1080p standard for high definition television and lower manufacturing costs.

3185:"Product Planners and Marketers Must Act Before 16:9 Panels Replace Mainstream 16:10 Notebook PC and Monitor LCD Panels, New DisplaySearch Topical Report Advises" 2923: 1668:

Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 and 16:9. When converted to a 16:9 frame, there is slight

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digital cinema basic resolution container aspect ratio. Exact ratio is 256:135 but it is commonly referred to as 1.9:1 or 1.90:1 and sometimes 1.896:1. Used by

3919: 2269:. Uses nine 4:3 35 mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications. 2504:

is a mechanism used in digital broadcasting to avoid this problem. It is also common that a 4:3 image is stretched horizontally to fit a 16:9 screen to avoid

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Many digital still cameras offer user options for selecting multiple image aspect ratios. Some achieve this through the use of multi-aspect sensors (notably

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rapid shift by computer display manufacturers to the 16:9 aspect ratio and by 2011 16:10 had almost disappeared from new mass market products. According to

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or other visual recording media with a non-widescreen native aspect ratio. When projected the image is then stretched back into the original proportions.

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of this a 4×6 print (6 inch wide by 4 inch tall landscape) perfectly matches the 3:2 aspect ratio of a DSLR/35 mm, since 6/2=3 and 4/2=2.

313:. It can fill nearly twice as much screen space compared to 16:9 format (when the device is held differently while viewing from how video was recorded). 388:

14:9 (generally named as Fourteen-by-Nine, Fourteen-Nine, and Fourteen-to-Nine) is the aspect ratio mainly used when the 4:3 programs are cropped.

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rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today. Many

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Both PAL and NTSC have provision for some data pulses contained within the video signal used to signal the aspect ratio (See ITU-R BT.1119-1 –

2147:(65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1957 and 1966 and some in the 2010s, for some sequences of 502: 213::1 as the wide screen standard. The "Academy ratio" of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release of 3298: 2555: 2448: 2305: 1207: 1134: 1085: 3184: 2902: 1731: 2741:

When discussing DSLRs and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers

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standard. DVD producers can also choose to show even wider ratios such as 1.66:1, 1.75:1, 1.77:1 and 1.78:1 within the 16:9 DVD frame by

1880:. Used as a flat ratio for some American studios in the 1950s and abandoned in the 1960s. Also used in recent mobile phones such as the 1428: 582: 3963: 2159: 1738::1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.33:1 ratio used for home video); this format is also used by the 2973: 2950: 2581: 2474: 2331: 1623:

The aspect ratio of 35 mm film used for still photography when eight perforations are exposed. Also the native aspect ratio of

1243: 1225: 1160: 1099: 3492: 3567: 3428: 2397:, the latter meaning removing the cinematic matte from a 2.40:1 film to open up the full 1.33:1 frame or from 2.40:1 to 1.43:1 in 3220: 3809: 572:" that uses a 2.00:1 format. Univisium has gained little traction in the theatrical film market, but has recently been used by 523:

cameras have the capability to record in 16:9 (= 4:3), and 16:9 is the only widescreen aspect ratio natively supported by the

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originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of

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continue to use 4:3 displays (despite other Apple products typically using widescreen aspect ratios) to better suit use as an

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or visual production was produced, as envisioned by the people involved in the creation of the work. As an example, the film

2309: 1138: 2998: 2927: 1727: 1480: 489:(1.77:1) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format of 3518: 677:

Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (

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at full height (three specially captured 35 mm images projected side by side into one composite widescreen image).

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aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.

230::1, became a perceived threat to movie studios. Hollywood responded by creating a large number of wide-screen formats: 3241: 2149: 2114: 1757: 3916: 1591:

35 mm full-screen sound film image, nearly universal in films between 1932 and 1953. Officially adopted as the

1845: 1780: 1498: 1421: 490: 359: 98: 3733: 3128: 3082: 2004:". But this aspect ratio is still seen on some higher-end monitors, which are sometimes called UltraWide monitors. 3943: 2830: 2501: 2180: 1194: 1091: 322: 50: 3206: 2702: 2648:), while others simply crop their native image format to have the output match the desired image aspect ratio. 2544: 2437: 2294: 1787:

video compression. Also used increasingly in personal video cameras. Sometimes this ratio is rounded to 1.78:1.

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This article is about aspect ratio of still images, films, and digital imagery. For display aspect ratio, see

3403: 1967:(Anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 1358:

but is displayed on a 4:3 display (DAR = 4:3), so by this formula it would have a PAR of (4:3)/(5:4) = 16:15.

3672: 3572: 2850: 2563: 2548: 2456: 2441: 2313: 2298: 2246: 2191: 1492: 1142: 1127: 588: 193: 165: 2710:

in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format

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of an image is the ratio of its width to its height. It is expressed as two numbers separated by a colon,

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In American cinemas, the common projection ratios are 1.85:1 and 2.40:1. Some European countries have 1.

2258: 1051:{\displaystyle A={\frac {r\times d^{2}}{{r^{2}}+1}}\quad ={\frac {x\times y\times d^{2}}{x^{2}+y^{2}}}} 3542:"'Nobody will ask why they need vertical videos now': Snap on why it welcomes competition from rivals" 711: 3873: 2662: 2512: 2119: 1262: 406: 31: 3902: 2262: 2165: 2140: 1854: 2730:

cameras using a 36 mm × 24 mm image size, and their digital derivatives represented by

3786: 3680: 2698: 2375: 1893: 1873: 1800: 1723: 1366: 1290: 1281: 1200: 928:{\displaystyle w={\frac {r\times d}{\sqrt {{r^{2}}+1}}}={\frac {x\times d}{\sqrt {x^{2}+y^{2}}}}} 604: 402: 397: 102: 180:, and the frame size reduced to maintain an image that is wider than tall; this resulted in the 3695:

is presented on Blu-ray courtesy of Film Movement with an AVC encoded 1080p transfer in 1.90:1.

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In 2017, Samsung and Phillips announced "Super UltraWide displays", with aspect ratio of 32:9.

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to save cost of film stock. Also the ratio of Ultra 16 mm. One of two common formats in

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aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio.

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UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent of

2496: 2488: 2414: 1828: 1636: 1632: 1507: 1453: 565: 454: 410: 336: 332: 264: 3897: 3958: 3937: 3923: 3906: 3452: 2977: 2751: 2742: 666: 616: 457:, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent. 414: 367: 362:, the majority of modern televisions are now produced with 16:9 displays instead. Apple's 3339: 3149:

R93-1998 - Compromise Scanned Area Dimensions for Television from 35 mm Wide-Screen Films

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SCADplus: 16:9 Action plan for the television in the 16:9 screen format – European Union

3290:

Civil Servants on the Silver Screen: Hollywood's Depiction of Government and Bureaucrats

3026: 2668:

were designed as square formats. Furthermore, up until August 2015, photo-sharing site

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theatrical viewings, commercials, and some music videos. Often commercially branded as

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35 mm American and British widescreen standard for theatrical film. Introduced by

1647: 1503: 826:{\displaystyle h={\frac {d}{\sqrt {r^{2}+1}}}={\frac {y\times d}{\sqrt {x^{2}+y^{2}}}}} 658: 302: 214: 137: 46: 2076:

before optical sound was added to the film in 1954. This was also the aspect ratio of

1599:. Rarely used in theatrical context nowadays, but occasionally used in other contexts. 3952: 2808: 2706: 2144: 1640: 1592: 1486: 1343:

and if displayed on a 4:3 display (DAR = 4:3), has square pixels, hence a PAR of 1:1.

1268: 540: 520: 352: 344: 181: 177: 169: 114: 3601: 17: 2804: 2672:

only allowed users to upload images in 1:1 format. In 2017, Fujifilm added the 1:1

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Comparison of several film aspect ratios with the heights forced to be equal images

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The 2.00:1 aspect ratio was first used in the 1950s for the RKO Superscope format.

528: 418: 328: 218: 133: 129: 118: 109: 3782:"'Ultra Widescreen' Version of Terrence Malick's 'Voyage of Time' Set for Release" 3465: 73: 3928: 3315: 164:

perforations determines the image's size. The universal standard (established by

2595: 2533: 2492: 2426: 2353: 2283: 2123: 2073: 2041: 2000:

TVs were produced with this aspect ratio between 2009 and 2012 and marketed as "

1958: 1624: 1386: 1112: 469: 465: 442: 340: 260: 243: 231: 82: 81:

The common film aspect ratios used in cinemas are 1.85:1 and 2.40:1. Two common

2189:(2016), but the image was cropped to 2.39:1 in post; Edwards would later shoot 1434: 417:. The width of the display is 1.6 times its height. This ratio is close to the 3833: 3429:"So, what is this 2:1 Univisium display ratio on the LG G6 and likely the S8?" 2840: 2394: 2266: 2241: 2233: 2037: 1980:

films released after 1972 are shot in this standard for theatrical exhibition.

1962: 1849: 1449: 1349: 662: 612: 544: 494: 279: 197: 58: 3581: 2520:

connection, one of the status lines is used to signal 16:9 material as well.

3892: 2669: 2645: 2505: 2185: 1977: 1877: 1862: 1669: 1643: 1515: 569: 556: 524: 298: 268: 145: 105:. Other cinematic and video aspect ratios exist, but are used infrequently. 3267: 2495:

or expanded beyond the original aspect ratio). It is also not uncommon for

3389:". . : : VITTORIO STORARO : : . .: What is UNIVISIUM?" 283:

for theatrical release and therefore is sometimes used for feature films.

160:

In motion picture formats, the physical size of the film area between the

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display the material. Where a video signal is transmitted via a European

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computers in the 1990s, with the resolution being specified as 1920×1024.

1628: 1564: 1511: 1295:– for square pixels this is 1:1 – and these are related by the identity: 636: 371: 306: 226::1). During that time, television, which had a similar aspect ratio of 1. 161: 2409: 335:

used to employ the same aspect ratio. 4:3 was the aspect ratio used for

3838: 3625:"Things to Consider Before Making a DCP: Aspect Ratio & Frame Size" 2803:) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27); 1939: 1889: 1698:

Widescreen computer monitor ratio (for instance, 1920×1200 resolution).

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For a full listing of film formats, including their aspect ratios, see

619:, are embracing the 2.00:1 format (advertised as 18:9), as well as the 608: 573: 498: 461: 310: 305:

and has since been supported by other major social platforms including

239: 3734:

Philips discontinuing super-wide Cinema 21:9 TVs due to lack of demand

3147: 2366:

was released to theaters in the 2.40:1 aspect ratio. It was filmed in

1555:

35 mm original silent film ratio, today commonly known in TV and

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and, in addition to being presented in cinemas and television in the

1943: 1920: 1784: 1560: 1522:—which all offer means for publishing vertical videos as content and 600: 446: 62: 1807:("perfs") of image space per four-perf frame; films can be shot in 3810:"Introducing Screen X, Cinema in 270 Degrees | Filmmaker Magazine" 3480:

The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930

2776: 2746: 2517: 2408: 1881: 1688: 1556: 1433: 596: 72: 3903:

Aspect – combined aspect ratio, frame size and bitrate calculator

3404:"What Amazon and Netflix's Demand for 4K Means for Documentaries" 3168:"With 10% of the U.S. Notebook Market, Where Will Apple Go Next?" 2032:

35 mm anamorphic from 1970 onwards. Aspect ratio of current

374:; however, the 2018 iPad Pro 11-inch uses a 1.43:1 aspect ratio. 3758: 3364:"The Aspect Ratio of 2.00 : 1 is Everywhere | VashiVisuals" 2800: 2759: 2731: 2398: 2357: 1769: 1662: 1607: 363: 273: 90: 3493:"'The Lighthouse,' 'The Witch' and the Horror of Robert Eggers" 468:

switched to a taller aspect ratio of approximately 1.54:1. The

2527: 2420: 2277: 1334: 1172: 1106: 1065: 125: 3887: 1420:

For a listing of computer resolutions and aspect ratios, see

3709:"Digital Cinema Technologies from the Archive's Perspective" 3340:"Widescreen Museum – CinemaScope Derivatives – Superscope 1" 1502:. A trend arising from the widespread use of smartphones is 1256:

This article primarily addresses the aspect ratio of images

3466:"The Man with a Flower in His Mouth (TV Movie 1930) - IMDb" 1510:. The format was popularized in particular by apps such as 3455:

displays that it has an 18:9 ratio (visit the gaming tab).

3075:"Eizo's 27-inch 3K display is perfectly square - Geek.com" 2901:

The 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the

1722:

Early 35 mm widescreen ratio, originally invented by

1680:'s SD feed until January 2016 was presented in this ratio. 196:

convention assigns a value of 1 to the image's height; an

3568:"Marketers Test YouTube Shorts, One More Rival to TikTok" 2508:

but distorts the image so subjects appear short and fat.

89::1), the universal video format of the 20th century, and 3242:"MacBook Pro 16 vs. MacBook Pro 14: All the Differences" 2240::1 images projected side by side. First used in 1927 on 2153:(1962) with a slight crop when converted to three-strip 3929:

Explanation of TV Aspect Ratio format description codes

276:, which was first shown at the Osaka '70 Worlds Fair.) 3714:. International Federation of Film Archives. p. 4 3051:"Sony SmartWatch 3 SWR50 – Full phone specifications" 942: 840: 748: 714: 427: 77:

Common aspect ratios used in film and displays images

1974:

aperture, but presents the widest of aspect ratios.)

1627:, for which the film runs horizontally. Used on the 1456:'s 30-line mechanical television in the early 1930s. 639:

also has a similar screen ratio of 19.5:9 (2.16:1).

2374:(OAR) of 2.40:1, it was also broadcast without the 2356:term for the aspect ratio or dimensions in which a 2807:cameras typically use one of these aspect ratios. 1050: 927: 825: 733: 433: 3519:"Grabyo Adds Square, Vertical Video Capabilities" 3027:"BlackBerry Passport – Full phone specifications" 635:with a slightly similar 18.5:9 format. The Apple 3482:, New York, Simon & Schuster (1997), p. 222. 3179: 3177: 2676:format to their lineup of instant film cameras. 2401:. Another name for it is rescaled aspect ratio. 45:. Common aspect ratios are 1.85:1 and 2.40:1 in 673:Obtaining height, width, and area of the screen 1938:70 mm standard. Originally developed for 1957:35 mm anamorphic prior to 1970, used by 8: 2897: 2895: 2893: 2836:Index of articles related to motion pictures 3934:IMDb – Number of DVDs for each aspect ratio 3755:: The IMAX® Experience in Ultra-Widescreen" 3666: 3664: 2562:. Unsourced material may be challenged and 2455:. Unsourced material may be challenged and 2312:. Unsourced material may be challenged and 1141:. Unsourced material may be challenged and 1100:Learn how and when to remove these messages 693:stands for ratio, written as a fraction of 595:Moreover, some mobile devices, such as the 539:Equivalent to integer ratio of 37:20. When 349:Academy of Motion Picture Arts and Sciences 3888:The Letterbox and Widescreen Advocacy Page 3834:"'Kiesza - What Is Love (Official Video)'" 3207:"Widescreen LCDs going widescreen by 2010" 3105:"Why Apple chose the iPad's screen format" 1876:. Original SuperScope ratio, also used in 1803:in May 1953. Projects approximately three 1260:which is more formally referred to as the 351:as a standard after the advent of optical 2582:Learn how and when to remove this message 2475:Learn how and when to remove this message 2332:Learn how and when to remove this message 1927:, XS, XS Max, 11, 11 Pro, and 11 Pro Max. 1672:, while conversion to 4:3 creates slight 1579:16 mm and 35 mm standard ratio. 1416:Previous and currently used aspect ratios 1400:, though the latter can be confused with 1389:between resolutions with different SARs. 1244:Learn how and when to remove this message 1226:Learn how and when to remove this message 1161:Learn how and when to remove this message 1039: 1026: 1014: 995: 975: 970: 962: 949: 941: 916: 903: 885: 866: 861: 847: 839: 814: 801: 783: 765: 755: 747: 721: 713: 460:Notably, Apple used 16:10 for all of its 426: 176:With a space designated for the standard 3671:Kauffman, Jeffrey (September 19, 2020). 3268:"MacBook Air - Technical Specifications" 3136:. ITU Radiocommunication Assembly. 1998. 2762:, which uses a 16:9 image aspect ratio. 1385:(CGA). Today they arise particularly in 1315: 1299: 2909:(Many widescreen films before the 1970 2889: 2867: 343:. It is also very close to the 1.375:1 3898:Widescreen Apertures and Aspect Ratios 2968: 2966: 2964: 2962: 1408:, though it can also be confused with 1311:Rearranging (solving for PAR) yields: 543:attendance dropped, Hollywood created 7: 2924:"Panasonic Introduces 2 New Cameras" 2903:American Society of Cinematographers 2560:adding citations to reliable sources 2453:adding citations to reliable sources 2310:adding citations to reliable sources 1783:, one of three ratios specified for 1496:, and, significantly more recently, 1303:SAR × PAR = DAR 1139:adding citations to reliable sources 3740:. 2012-08-28. Retrieved 2013-03-18. 3566:Alcántara, Ann-Marie (2022-08-08). 1779:Video widescreen standard, used in 1559:as 1.33:1. Also standard ratio for 1429:list of motion picture film formats 1404:aspect ratio; PAR is also known as 1348:By contrast, a 720 × 576 472:continues to use 16:10 as of 2022. 27:Height/width proportion of an image 3316:"Aspect Ratios and Camera Formats" 2976:. Arri. 2011-07-07. Archived from 2926:. India: Tech Tree. Archived from 1271:, there is a distinction with the 568:has advocated for a format named " 25: 3780:Kristopher Tapley (Dec 5, 2016). 3517:Fratti, Karen (20 October 2015). 3287:Pautz, Michelle C. (2017-12-29). 1923:models since 2017, including the 1734:animated their features in the 1. 1081:This section has multiple issues. 497:and analog widescreen television 3909: (archived December 7, 2013) 3602:"Picking the Right Aspect Ratio" 3540:Lim, Shawn (27 September 2018). 3223:. Net Applications. October 2012 2532: 2425: 2282: 2044:". One of two common formats in 1506:that is intended for viewing in 1284:. If an image is displayed with 1177: 1111: 1070: 734:{\displaystyle r={\frac {x}{y}}} 140:), by adding horizontal mattes ( 3623:Owen, Aaron (August 14, 2020). 3293:. Lexington Books. p. 31. 2943:American Cinematographer Manual 2907:American Cinematographer Manual 2405:Problems in film and television 2393:or EAR (Expanded Aspect Ratio)/ 2160:It's a Mad, Mad, Mad, Mad World 1201:Pixel aspect ratio#Introduction 1089:or discuss these issues on the 991: 3870:"NEC Monitor Technology Guide" 3103:McElhearn, Kirk (2010-02-01). 2183:used the process for shooting 1199:content overlaps with section 206:August 1993 (SMPTE 195-1993). 1: 3940: (archived June 24, 2009) 3604:. Simple DCP. January 1, 2018 3205:Ricker, Thomas (2008-07-02). 2974:"ALEXA Anamorphic De-squeeze" 2048:, where it is called "scope". 1908:use the similar 18.5:9 ratio. 1728:Walt Disney Feature Animation 1481:Sunrise: A Song of Two Humans 1468:Sometimes referred to as the 3707:Nowak, Arne (October 2010). 3402:O'Falt, Chris (2017-04-04). 3081:. 2014-11-20. Archived from 2693:4:3 is used by most digital 1919:Used by the screens of some 1872:Recently popularized by the 1815:, where it is called "flat". 1676:. All widescreen content on 564:Since 1998, cinematographer 464:models until 2021, when the 3187:. DisplaySearch. 2008-07-01 2945:(9th ed.). ASC Press. 2382:Modified aspect ratio (MAR) 2345:Original aspect ratio (OAR) 1946:as 2.20:1, but hardly used. 1942:in the 1950s. Specified in 1639:portable game console, the 1197:. The specific problem is: 3985: 3893:American Widescreen Museum 3647:"Aspect Ratio Cheat Sheet" 3446:The official Honor website 3166:Knight, Dan (2008-09-19). 2875:Repeating decimal notation 1781:high-definition television 1426: 1422:list of common resolutions 1419: 646: 554: 479: 466:5th-generation MacBook Pro 395: 381: 360:high-definition television 320: 99:high-definition television 29: 3964:Film and video technology 3912:Aspect Ratios Explained: 3468:– via www.imdb.com. 2831:Active Format Description 2799:in the United States (in 2502:Active Format Description 2072:Original aspect ratio of 657:Anamorphic format is the 323:Fullscreen (aspect ratio) 85:aspect ratios are 4:3 (1. 3344:www.widescreenmuseum.com 3314:Berger, John L. (2019). 2703:Micro Four Thirds system 2594:Common aspect ratios in 1319:PAR = DAR/SAR 1280:, which is the ratio of 661:technique of shooting a 580:for productions such as 434:{\displaystyle \varphi } 3573:The Wall Street Journal 3387:Eelvee (4 March 2007). 3008:(53): 24–31. April 2013 2941:Burum, Stephen (2004). 2851:Glossary of video terms 2726:3:2 is used by classic 2695:point-and-shoot cameras 2169:(1959). More recently, 287:Current video standards 194:motion picture industry 3497:The Hollywood Reporter 3006:Film and Digital Times 2913:revision used 2.35:1). 2685:from digital cameras. 2418: 1452:aspect ratio, used by 1439: 1383:Color Graphics Adapter 1355:a SAR of 720/576 = 5:4 1340:a SAR of 640/480 = 4:3 1333:A 640 × 480 1052: 929: 827: 735: 435: 329:moving picture cameras 144:) or vertical mattes ( 78: 3969:Picture aspect ratios 2712:Advanced Photo System 2412: 2387:Modified Aspect Ratio 2372:Original Aspect Ratio 2350:Original Aspect Ratio 2274:Aspect ratio releases 2236:, three 35 mm 1. 2195:(2023) in this ratio. 2034:anamorphic widescreen 1961:("'Scope") and early 1892:, Xiaomi MIX 2S, and 1437: 1392:DAR is also known as 1373:between resolutions. 1053: 930: 828: 736: 705:for diagonal length. 653:Anamorphic widescreen 633:Samsung Galaxy Note 9 625:Samsung Galaxy Note 8 436: 358:With the adoption of 280:Super 16 mm film 156:Practical limitations 76: 3649:. Firehouse Creative 3221:"Screen Resolutions" 2814:120-format roll film 2556:improve this section 2513:Widescreen signaling 2449:improve this section 2306:improve this section 2157:, and films such as 2150:How the West Was Won 2120:Kirill Serebrennikov 2002:21:9 cinema displays 1398:picture aspect ratio 1275:storage aspect ratio 1263:display aspect ratio 1208:improve this section 1193:to meet Knowledge's 1135:improve this section 940: 838: 746: 712: 665:picture on standard 519:to 3 (= 16:9). Many 425: 297:mobile apps such as 254:Movie camera systems 69:Some common examples 32:display aspect ratio 18:Storage aspect ratio 3693:The Wild Goose Lake 3675:The Wild Goose Lake 2265:in 1955 for use in 2263:Walt Disney Company 2141:Ultra Panavision 70 1855:The Wild Goose Lake 1827:HDTV ratio used by 1406:sample aspect ratio 97::1), universal for 3922:2013-06-04 at the 3814:Filmmaker Magazine 3451:2018-12-03 at the 3320:www.widescreen.org 2699:Four Thirds system 2419: 2259:Circle-Vision 360° 1894:Huawei Mate 10 Pro 1874:Red Digital Cinema 1801:Universal Pictures 1724:Paramount Pictures 1440: 1394:image aspect ratio 1291:pixel aspect ratio 1048: 925: 823: 731: 605:Huawei Mate 10 Pro 431: 398:16:10 aspect ratio 188:Cinema terminology 178:optical soundtrack 103:digital television 79: 3499:. 29 October 2019 3300:978-1-4985-3913-5 2856:Ultrawide formats 2846:Shoot and protect 2596:still photography 2592: 2591: 2584: 2524:Still photography 2485: 2484: 2477: 2342: 2341: 2334: 2261:developed by the 2176:The Hateful Eight 2171:Quentin Tarantino 1898:Samsung Galaxy S8 1886:Google Pixel 2 XL 1635:notebook PC, the 1323: 1322: 1307: 1306: 1282:numbers of pixels 1254: 1253: 1246: 1236: 1235: 1228: 1195:quality standards 1186:This section may 1171: 1170: 1163: 1104: 1046: 989: 923: 922: 880: 879: 821: 820: 778: 777: 729: 649:Anamorphic format 629:Samsung Galaxy S9 621:Samsung Galaxy S8 609:Google Pixel 2 XL 493:, non-HD digital 482:16:9 aspect ratio 411:computer displays 384:14:9 aspect ratio 347:, defined by the 333:computer monitors 124:With television, 63:still photography 16:(Redirected from 3976: 3884: 3882: 3881: 3872:. Archived from 3863:On aspect ratios 3851: 3850: 3848: 3846: 3830: 3824: 3823: 3821: 3820: 3805: 3799: 3798: 3796: 3794: 3777: 3771: 3770: 3768: 3766: 3747: 3741: 3732:Goddard, Louis. 3730: 3724: 3723: 3721: 3719: 3713: 3704: 3698: 3697: 3689: 3687: 3668: 3659: 3658: 3656: 3654: 3643: 3637: 3636: 3634: 3632: 3620: 3614: 3613: 3611: 3609: 3598: 3592: 3591: 3589: 3588: 3563: 3557: 3556: 3554: 3552: 3537: 3531: 3530: 3528: 3526: 3514: 3508: 3507: 3505: 3504: 3489: 3483: 3476: 3470: 3469: 3462: 3456: 3443: 3437: 3436: 3427:Petrov, Daniel. 3424: 3418: 3417: 3415: 3414: 3399: 3393: 3392: 3384: 3378: 3377: 3375: 3374: 3368:vashivisuals.com 3360: 3354: 3353: 3351: 3350: 3336: 3330: 3329: 3327: 3326: 3311: 3305: 3304: 3284: 3278: 3277: 3275: 3274: 3263: 3257: 3256: 3254: 3253: 3238: 3232: 3231: 3229: 3228: 3217: 3211: 3210: 3202: 3196: 3195: 3193: 3192: 3181: 3172: 3171: 3163: 3157: 3156: 3154: 3144: 3138: 3137: 3135: 3125: 3119: 3118: 3116: 3115: 3100: 3094: 3093: 3091: 3090: 3071: 3065: 3064: 3062: 3061: 3055:www.gsmarena.com 3047: 3041: 3040: 3038: 3037: 3031:www.gsmarena.com 3023: 3017: 3016: 3014: 3013: 3003: 2999:"Anamorphic Now" 2995: 2989: 2988: 2986: 2985: 2970: 2957: 2956: 2938: 2932: 2931: 2920: 2914: 2899: 2877: 2872: 2639: 2632: 2625: 2615: 2605: 2587: 2580: 2576: 2573: 2567: 2536: 2528: 2480: 2473: 2469: 2466: 2460: 2429: 2421: 2337: 2330: 2326: 2323: 2317: 2286: 2278: 2239: 2220: 2202: 2137: 2101: 2088: 2069: 2057: 2027: 2026: 2022: 2019: 2012: 1997: 1993: 1987: 1954: 1935: 1916: 1837: 1829:Silicon Graphics 1796: 1776: 1737: 1709: 1657: 1637:Game Boy Advance 1633:Chromebook Pixel 1476: 1454:John Logie Baird 1316: 1300: 1277: 1276: 1249: 1242: 1231: 1224: 1220: 1217: 1211: 1181: 1180: 1173: 1166: 1159: 1155: 1152: 1146: 1115: 1107: 1096: 1074: 1073: 1066: 1057: 1055: 1054: 1049: 1047: 1045: 1044: 1043: 1031: 1030: 1020: 1019: 1018: 996: 990: 988: 981: 980: 979: 968: 967: 966: 950: 934: 932: 931: 926: 924: 921: 920: 908: 907: 898: 897: 886: 881: 872: 871: 870: 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1835: 1794: 1774: 1758:The Jungle Book 1735: 1707: 1655: 1474: 1432: 1425: 1418: 1274: 1273: 1250: 1239: 1238: 1237: 1232: 1221: 1215: 1212: 1205: 1182: 1178: 1167: 1156: 1150: 1147: 1132: 1116: 1075: 1071: 1064: 1035: 1022: 1021: 1010: 997: 971: 969: 958: 951: 938: 937: 912: 899: 887: 862: 849: 836: 835: 810: 797: 785: 761: 744: 743: 710: 709: 675: 655: 647:Main articles: 645: 617:Sony Xperia XZ3 559: 553: 537: 515: 511: 508: 506: 484: 478: 423: 422: 400: 394: 386: 380: 325: 319: 294: 289: 256: 235: 227: 223: 215:George Stevens' 210: 190: 166:William Dickson 158: 94: 86: 71: 35: 28: 23: 22: 15: 12: 11: 5: 3982: 3980: 3972: 3971: 3966: 3961: 3951: 3950: 3947: 3946: 3941: 3931: 3926: 3910: 3900: 3895: 3890: 3885: 3864: 3861: 3859: 3856: 3853: 3852: 3825: 3800: 3772: 3753:Voyage of Time 3742: 3725: 3699: 3660: 3638: 3615: 3593: 3558: 3532: 3509: 3484: 3471: 3457: 3438: 3419: 3394: 3379: 3355: 3331: 3306: 3299: 3279: 3258: 3246:Digital Trends 3233: 3212: 3197: 3173: 3158: 3139: 3120: 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Dec 7, 2016 3760: 3756: 3754: 3746: 3743: 3739: 3735: 3729: 3726: 3710: 3703: 3700: 3696: 3694: 3682: 3678: 3676: 3667: 3665: 3661: 3648: 3642: 3639: 3626: 3619: 3616: 3603: 3597: 3594: 3583: 3579: 3575: 3574: 3569: 3562: 3559: 3547: 3543: 3536: 3533: 3520: 3513: 3510: 3498: 3494: 3488: 3485: 3481: 3478:Scott Eyman, 3475: 3472: 3467: 3461: 3458: 3454: 3450: 3447: 3442: 3439: 3434: 3430: 3423: 3420: 3409: 3405: 3398: 3395: 3390: 3383: 3380: 3369: 3365: 3359: 3356: 3345: 3341: 3335: 3332: 3321: 3317: 3310: 3307: 3302: 3296: 3292: 3291: 3283: 3280: 3269: 3262: 3259: 3247: 3243: 3237: 3234: 3222: 3216: 3213: 3208: 3201: 3198: 3186: 3180: 3178: 3174: 3169: 3162: 3159: 3151: 3150: 3143: 3140: 3132: 3131: 3124: 3121: 3110: 3106: 3099: 3096: 3085:on 2018-11-30 3084: 3080: 3076: 3070: 3067: 3056: 3052: 3046: 3043: 3032: 3028: 3022: 3019: 3007: 3000: 2994: 2991: 2980:on 2012-03-09 2979: 2975: 2969: 2967: 2965: 2963: 2959: 2954: 2952:0-935578-24-2 2948: 2944: 2937: 2934: 2929: 2925: 2919: 2916: 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