The aspect ratio of an image is the ratio of its width to its height. It is expressed as two numbers separated by a colon, in the format width:height. Common aspect ratios are 1.85:1 and 2.39:1 in cinematography, 4:3 and 16:9 in television, and 3:2 in still photography.
The common film aspect ratios used in cinemas are 1.85:1 and 2.39:1.[1] Two commonvideographic aspect ratios are 4:3 (1.3:1),[a] the universal video format of the 20th century, and16:9 (1.7:1), universal forhigh-definition television and Europeandigital television. Other cinematic and video aspect ratios exist, but are used infrequently.
Instill camera photography, the most common aspect ratios are 4:3, 3:2 (1.5:1), and more recently found in consumer cameras, 16:9.[2] Other aspect ratios, such as 5:3, 5:4, and 1:1 (square format), are used in photography as well, particularly inmedium format andlarge format.
With television,DVD andBlu-ray, 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 (zooming andcropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) 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 inWide Zoom mode).
In motion picture formats, the physical size of the film area between thesprocket perforations determines the image's size. The universal standard (established byWilliam Dickson andThomas Edison 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.[3]
With a space designated for the standardoptical soundtrack, and the frame size reduced to maintain an image that is wider than tall; this resulted in theAcademy aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio.
Themotion picture industry convention assigns a value of 1 to the image's height; ananamorphic 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.[4] ASMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1.[4] An update in 1970 (PH22.106-1971) changed the aspect ratio to 2.39:1 in order to make splices less noticeable.[4] This aspect ratio of 2.39:1 was confirmed by the most recent revision from August 1993 (SMPTE 195-1993).[4]
In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have1.6:1[clarify] as the widescreen standard. The "Academy ratio" of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release ofGeorge Stevens'Shane in 1.6:1). During that time, television, which had a similar aspect ratio of 1.3:1, became a perceived threat to movie studios. Hollywood responded by creating a large number of widescreen formats:CinemaScope (up to 2.6:1),Todd-AO (2.20:1), andVistaVision (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.
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 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.[5]
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,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 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-perforation35 mm movie film) 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 byLucasfilm 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 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 byIMAX, which was first shown at the Osaka '70 Worlds Fair.)
Super 16 mm film 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 for theatrical release and therefore is sometimes used for feature films.
Square displays are rarely used in devices[6][7] and monitors.[8] 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 mobile apps such asInstagram andVine and has since been supported by other major social platforms includingFacebook andX. 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).
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 ofmoving picture cameras, and manycomputer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for35 mm films in thesilent era. It is also very close to the 1.375:1Academy ratio, defined by theAcademy of Motion Picture Arts and Sciences as a standard after the advent of opticalsound-on-film. 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).
With the adoption ofhigh-definition television, the majority of modern televisions are now produced with 16:9 displays instead. Apple'siPad series oftablets continue to use 4:3 displays (despite other Apple products typically using widescreen aspect ratios) to better suit use as ane-reader; however, the 2018 iPad Pro 11-inch uses a 1.43:1 aspect ratio.[9]
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.[10][11]
16:10 (8:5) is anaspect ratio mostly used forcomputer displays andtablet computers. The width of the display is 1.6 times its height. This ratio is close to thegolden ratio "" 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 forLCD monitors andlaptop displays.[12] Since 2010, however, 16:9 has become the mainstream standard, driven by the 1080p standard for high definition television and lower manufacturing costs.[13][14]
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.[13] However, 16:10 had a short reign as the most common aspect ratio. Around 2008–2010, there was a 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 toNet Applications, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent.[15]
Notably, Apple used 16:10 for all of itsMacBook models until 2021, when the5th-generation MacBook Pro switched to a taller aspect ratio of approximately 1.54:1.[16] TheMacBook Air continues to use 16:10 as of 2025.[17]
16:9 (1.78:1) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format ofHDTV, non-HD digitaltelevision and analog widescreen televisionPALplus. Japan'sHi-Vision originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of5+1⁄3 to 3 (= 16:9). Manydigital video cameras have the capability to record in 16:9 (= 42:32), and 16:9 is the only widescreen aspect ratio natively supported by theDVD 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[1] within the 16:9 DVD frame byhard matting 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 smartphones, laptops, and desktops.
Equivalent to integer ratio of 37:20. Whencinema attendance dropped, Hollywood createdwidescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.[18][19]
The 2.00:1 aspect ratio was first used in the 1950s for the RKO Superscope format.[20][21]
Since 1998, cinematographerVittorio Storaro has advocated for a format named "Univisium" that uses a 2.00:1 format.[22] Univisium has gained little traction in the theatrical film market, but has recently been used byNetflix andAmazon Video for productions such asHouse of Cards andTransparent, 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.[23]
Moreover, some mobile devices, such as theLG G6,LG V30,Huawei Mate 10 Pro,Google Pixel 2 XL,OnePlus 5T andSony Xperia XZ3, are embracing the 2.00:1 format (advertised as 18:9), as well as theSamsung Galaxy S8,Samsung Galaxy Note 8,Samsung Galaxy S9 andSamsung Galaxy Note 9 with a slightly similar 18.5:9 format.[24][25] The AppleiPhone X also has a similar screen ratio of 19.5:9 (2.16:1).
Anamorphic format is thecinematography technique of shooting awidescreen picture on standard35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected the image is then stretched back into the original proportions.
Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (h), width (w) and area (A), wherer stands for ratio, written as a fraction ofx byy, andd for diagonal length.
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This article primarily addresses the aspect ratio of imagesas displayed, which is more formally referred to as thedisplay aspect ratio (DAR). Indigital images, there is a distinction with thestorage aspect ratio (SAR), which is the ratio ofnumbers of pixels. If an image is displayed withsquare pixels, 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 thepixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity:
| SAR × PAR = DAR |
Rearranging (solving for PAR) yields:
| PAR = DAR/SAR |
For example:
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 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 themain article.
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 between resolutions.
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 computerdisplay modes, such asColor Graphics Adapter (CGA). Today they arise particularly intranscoding between resolutions with different SARs.
DAR is also known asimage aspect ratio andpicture aspect ratio, though the latter can be confused withpixel aspect ratio; PAR is also known assample aspect ratio, though it can also be confused withstorage aspect ratio.
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Original Aspect Ratio (OAR) is ahome cinema term for the aspect ratio or dimensions in which afilm or visual production was produced, as envisioned by the people involved in the creation of the work. As an example, the filmGladiator was released to theaters in the 2.40:1 aspect ratio. It was filmed inSuper 35 and, in addition to being presented in cinemas and television in theOriginal Aspect Ratio (OAR) of 2.40:1, it was also broadcast without thematte, 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.
Modified Aspect Ratio (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 ofpan and scan or EAR (Expanded Aspect Ratio)/open matte, 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 inIMAX. Another name for it is rescaled aspect ratio.
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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 (cropped,letterboxed or expanded beyond the original aspect ratio). It is also not uncommon forwindowboxing 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 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.Active Format Description 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 avoidpillarboxing but distorts the image so subjects appear short and fat.
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 –Widescreen signaling 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 display the material. Where a video signal is transmitted via a EuropeanSCART connection, one of the status lines is used to signal 16:9 material as well.
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Common aspect ratios instill photography include:
Many digital still cameras offer user options for selecting multiple image aspect ratios. Some achieve this through the use of multi-aspect sensors (notablyPanasonic), while others simply crop their native image format to have the output match the desired image aspect ratio.
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 used120 film 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. ManyPolaroidinstant films were designed as square formats. Furthermore, up until August 2015, photo-sharing siteInstagram only allowed users to upload images in 1:1 format. In 2017, Fujifilm added the 1:1Instax Square format to their lineup of instant film cameras.
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 from digital cameras.
4:3 is used by most digitalpoint-and-shoot cameras,Four Thirds system,Micro Four Thirds system cameras andmedium format 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 in classic film photography image sizes, both the classic 35 mm film camera, and the multiple formatAdvanced Photo System (APS) 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).
3:2 is used by classic35 mm film cameras using a 36 mm × 24 mm image size, and their digital derivatives represented byDSLRs. 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 asAPS 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.
When discussing DSLRs and their non-SLR derivatives, the term APS-C has become an almost generic term. The major camera manufacturers, includingCanon,Sony, andNikon, 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 callsDX. 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.
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 UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent ofHDTV, which uses a 16:9 image aspect ratio.
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 (HD)video. 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.
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 forpanorama 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.
Commonprint sizes in the United States (ininches) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27);large format cameras typically use one of these aspect ratios.Medium-format 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 of120-format roll film 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 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.
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 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.
The Wild Goose Lake is presented on Blu-ray courtesy of Film Movement with an AVC encoded 1080p transfer in 1.90:1.
