16 by 9 aspect ratio lcd module brands

4:3 aspect ratio televisions were the standard for many years. However, 16:9 aspect ratio is now the dominant widescreen monitor format. Consequently, TRU-Vu offers an extensive selection of 1080p monitors and touch screens with a variety of aspect ratios. Similarly, we also offer our industrial-grade monitors and touch screens with 16:10 aspect ratio.  Browse our 16:9 wide-screen displays to find the perfect solution for your needs. You can even search exclusively for only 16:9 monitors with our search tool.

Our 16×9 monitors are an ideal match for 1920×1080 aspect ratio cameras and 16:9 resolutions from other devices. Widescreen monitors range from 800 x 480 to 1920×1080 aspect ratios, as well as 4K resolution.  We are pleased to offer our 16:9 and 16:10 resolution widescreen monitors in a wide range of sizes and configurations. This includes convenient panel-mount LCD monitors and Sunlight Readable monitors and waterproof outdoor monitor options. These are built for tough conditions.

We are often asked “What is my aspect ratio?” Or sometimes “Do you have a 1080p monitor?” “Can you tell me the aspect ratio of 1920×1080?”  A widescreen aspect ratio refers to a 16:9 aspect ratio screen. This is the rectangular shape similar to any modern television. Older TV’s and monitors had a 4:3 aspect ratio, which looked more like a square monitor. Check out our 4:3 vs 16:9 Aspect Ratio article in order to help you understand the differences between the two monitor formats. You can also use this handy aspect ratio calculator. Likewise, you can speak with one of our application specialists about all of the technical specifications on our displays. Feel free to request a recommendation. They will help determine the ideal 16:9 aspect ratio or 16:10 aspect ratio monitors for your environment.  If you are interested to learn more about aspect ratios, please also check our terminology guide.

We would be happy to modify any of our monitors for you. For instance, TRU-Vu  can customize nearly aspect of your display, from the inputs and electronics, to screen treatments and enclosures.Modified options are often available at low or no additional cost.  Additionally, we also offer custom monitors to meet your exact requirements. Lastly, Private label options are also available for your brand promotion.

One of the biggest trends coming out of this year’s CES wasn’t something people will necessarily notice at first glance unless they look closely. After enduring years of cramped, “widescreen” laptop displays, it looks like we’re finally starting to say goodbye to the 16:9 aspect ratio.

An aspect ratio is the ratio of a display’s width to a display’s height (in that order). For example, a screen with a resolution of 500 x 500 would have an aspect ratio of 1:1. Think of it like simplifying a fraction: a 1080p screen has a resolution of 1920 x 1080, which divides down to 16:9.

The aspect ratios you’ll typically see on laptops are 16:9, 3:2, 16:10 (which, for whatever reason, is called 16:10 rather than 8:5), and (occasionally) 4:3. 16:9 is the most common option and also the one with the lowest amount of vertical space relative to its horizontal space.

If you have a modern Windows laptop, there’s a good chance your screen is 16:9. If you have a gaming laptop, its panel is almost certainly 16:9. (It’s unusual to find high refresh-rate panels with other proportions.) There are some notable exceptions: Microsoft’s Surface products have been 3:2 for quite some time, while Dell’s last few XPS 13 models and Apple’s MacBooks are already 16:10. But traditionally, Windows laptops like these have been few and far between.

16:9 screens are cramped — at least compared to other options. I usually can’t comfortably work in multiple windows side by side without zooming out or doing a ton of vertical scrolling, and when I’m multitasking in Chrome, the tabs get tiny very quickly. If you’re used to using a 16:9 screen and you try a 16:10 or 3:2 display of the same size, you probably won’t want to go back. You just have a lot more room, and it’s a much more efficient use of screen space.

But this CES showed that 16:10 and 3:2 displays are inching closer to the mainstream. These are some of the biggest laptops announced at the show that are offering non-16:9 display options:

That doesn’t mean there are no 16:9 displays left — plenty of laptops still use it, and probably will for the foreseeable future. And some of these devices, like the LG Grams, were 16:10 already.

But it’s significant that a large number of the flagships we’ll be seeing in the first half of 2021 will be either 16:10 or 3:2. In fact, when you include MSI’s 16:10 Summit E13 Flip and Razer’s 16:10 Razer Book 13 (both of which were announced prior to CES), I can’t think of a mainstream consumer laptop company that isn’t now selling a non-16:9 flagship-level machine. It’s clear that companies across the board are moving toward laptops with taller aspect ratios, and I fully expect to see more of them in the years to come.

Again, this may seem like a boring change. But it will make a big difference in the lives of this year’s laptop buyers, particularly people shopping for a work-from-home device. I switched from a 16:9 laptop to a 3:2 Surface Book 2 back in 2017, and it was one of the best purchasing decisions I’ve ever made. If you’re using a 16:9 screen now and are looking to upgrade this year, I encourage you to give one of these new devices a shot. You won’t want to go back.

Well, if you haven’t, today, through this article, let us help you explore everything about this ratio (and other popular ratios) along with its history, resolution, and application in detail.

The comparable relation between the width and height of a screen or video display is known as the aspect ratio. The ratio is usually used in camera sensors, television displays, as well as in printed and digital media.

The list also includes 3:2 aspect ratios suitable for sensors in devices like phones and cameras for shooting different media. Additionally, Cinemascope is a 2.35:1 extra wide aspect ratio used for making films for cinemas.

Aspect ratios are important because there are many standards. The 19:9 ratio in phones is different from the 16:9 horizontal ratio in the modern laptop screens. Also, old computers have a 4:3 aspect ratio while mainstream media is displayed mostly in a 16:9 ratio.

However, in the early days, almost all televisions and monitors had a 4:3 aspect ratio. It was square in shape, which was 33% wider than its height, and was generally known as a square monitor. However, they were not ideal for high-definition video displays.

The 16:9 aspect ratio is widely used in HDTV, non-HD TV, Full HD, and analog television screens. The ratio is obtained when you divide vertical pixels by horizontal pixels (in numbers), containing 1920 vertical lines and 1080 horizontal lines of resolution.

For reference, a 16:9 aspect ratio on television simply means that the horizontal viewing area is wider (16) than the vertical viewing area (9). Practically all the television broadcasts were using this format by the end of 2005.

Moreover, the 16:9 format is natively supported in DVD format and is further used on Vimeo, YouTube, and other popular video websites attracting a very high view rate.

Also, the aspect ratio is clearly specified in the video production by mentioning the widths relative to height, such as 16:9. Today, this ratio has become the common video player size and is the default aspect ratio for most devices, both professional and consumer-grade electronics.

When it comes to displaying a presentation or video on an electronic device, resolutions and aspect ratios are quite significant. The sharpness and clarity of your screen"s image are also determined by its resolution.

Moreover, even the sharpness of a picture on a display is determined by the monitor"s resolution and size. Also, as the same number of pixels are spread out across a greater number of inches, the very same pixel resolution will be crisper on a smaller panel, and gradually lose sharpness on bigger monitors.

Now talking about the computer display system, its greatest resolution is determined by its physical ability to concentrate light (in which case the physical dot size - the dot pitch - corresponds to the pixel size), and it normally has lower resolutions.

However, a display system with a maximum resolution of 1280 by 1023 pixels, for example, could additionally support resolutions of 1024x768, 800x600, and 640x480 pixels. Also, the highest resolution on a given display size may provide a crisper image, but it will be distributed across a space that is too tiny to read comfortably.

Now coming to the aspect ratio of a picture, it is the proportion of its width to its height, represented as two integers separated by a colon, for instance, 4:3. There are several aspect ratios in use in many mainstream press applications; nevertheless, in the television business, the 4:3 and 16:9 aspect ratios are the most frequent.

Moreover, the 4:3 widescreen format, which is utilized for both standard and high definition video, has replaced the old standard definition format that is no longer used by broadcasters.

Although there are other resolutions to pick from, here is a list of the most commonly utilized resolutions (and their corresponding aspect ratios) today:

The 4:3 aspect ratio, which was created by William Dickson in 1892, was established as the standard format for the film in 1917 by the Society of Motion Picture Engineers, and by the television industry in the 1930s. However, in the mid-1950s, the motion picture industry began to develop a variety of widescreen formats to boost their dwindling audience numbers.

Despite the universal usage of 4:3 cameras, LCDs with a 4:3 aspect ratio were becoming increasingly difficult to come by. Many manufacturers moved on to the newer 16:9 widescreens.

This makes it 1.33:1, which serves as the aspect ratio of a 4:3 TV or projector screen. However, this aspect ratio only remained as long as the shape of the television remained square.

This quickly changed when the 16:9 ratio came into the picture. It was much easier on the eyes, and the wide shape of the image closely reflected the natural way of seeing. This accounted for most high-definition widescreen LCDs and TVs with a 16:9 aspect ratio as their default standard (16:9 and 16:10 are very similar). Nonetheless, it"s 78% broader than tall, and one-third bigger than a 4:3 screen.

Now, the 16:9 aspect ratio becomes 16 units wide and 9 units high - much wider in comparison to the 4:3 aspect ratio. Also, when the width is divided by the height it is:

Today, widescreen LCDs with a 16:9 aspect ratio act as the best complement to 16:9 format HD cameras. On top of that, this aspect ratio provides high-definition pictures that are clear and distortion-free, making video conferencing, and broadcasting more and more popular now.

Before I discuss the most common ratios in films, you must first understand that a fixed aspect ratio is used while making a film or television program. This is determined by the camera that is used to film the show, as well as the interface where it will be shown. As a result, TV series’ will almost certainly have a distinct native aspect ratio as compared to big-budget films.

With a few exceptions, most films released after 1953 were in either 1.85:1 or 2.35:1 aspect ratios. However, most modern films are shot in 1.85:1, 2.35:1, or 2.39:1 widescreen aspect ratios. A few silent films, such as Grandeur and " Vision, were shot in other unusual aspect ratios.

Although there have been various aspect ratios used in the last few years, there are 4 popular formats that you will encounter frequently. This includes the following:1.33:1 Ratio

This is the most common aspect ratio of SD (standard-definition) pictures and TVs, sometimes known as 4:3. However, as new TV displays migrate to widescreen, this is becoming less prevalent.

Although there are still many older TV shows that are only accessible in this aspect ratio. As a result, you can watch any of the 4:3 television shows on your old 4:3 television without compromising much on quality. Surprising, it?

However, on the widescreen TV (16:9), there will be bars on both sides due to the image not being large enough for the TV. In technical terms, this is referred to as vertical letterboxing or pillar boxing.

The aspect ratio for almost all the widescreen TVs is 1.78:1, as previously stated. 16 x 9 or 16:9 are other names for it. Additionally, is also a term used to describe this same aspect ratio.

Frequently, 16:9 is the optimum aspect ratio used for presenting content on HDTV as it is the standard for high-definition television screens. Also, in case a show has a 16:9 aspect ratio, you can be assured that it will easily match the aspect ratio of the screen and that the contents of the show will fill the entire screen.

For numerous films, 1.85:1 is a typical widescreen aspect ratio. It is widely used as a widescreen format in the United States, and it is somewhat wider than the normal 16:9 format. But, as the aspect ratio is nearly the same, a video with this aspect ratio may fit perfectly on a normal 16:9 HD TV.

Letterboxing occurs when a 1.85:1 show is displayed on a 16:9 screen, although the bars at the bottom and top may be minimal since this form is already a good fit.

When it comes to 2.39:1, it is a famous aspect ratio used in big movie releases, sometimes known as Panavision or CinemaScope. The aspect ratio used to be 2.35:1, but in the 1970s it was changed to 2.39:1. Apart from this, 2.40:1 is another popular rounding.

If you are wondering where to find this information about aspect ratios, then let me tell you, the aspect ratio of the show or movie on the disc, as well as other information, may be found on the rear of your Blu-ray or DVD packaging.

The 16:9 aspect ratio has a long history dating back to 1984 when Dr. Kerns H. Powers first proposed this aspect ratio to the electronic industry. This was the time when hardly anyone was creating videos in an aspect ratio other than 4:3. Moreover, this aspect ratio (16:9) was then used to solve the difficulty of cinematographic projectors fitting inside booths that were too tall for their width.

Today"s widescreen displays and HDTVs, with their wide 16:9 aspect ratio, have completely transformed the way we view the world. They provide more working space and allow you to see larger pictures without compromising visibility.

On top of that, the 16:9 aspect ratio has been increasingly popular in recent years due to the growing usage of computer displays and LCD televisions. Nonetheless, high-definition (HD) television has used the 16:9 aspect ratio since 2009, which 16:9 appeared in a wide range of media, including movies, television, video games, and even sports.

In motion pictures, video images, and still photos, the aspect ratio dictates the form and scale of the image. Aspect ratios are also used to describe a variety of objects, such as the shape and size of television and computer monitors.

The most popular aspect ratio for watching movies is 1.33:1, while alternative ratios include 2.39:1 (often used for high definition television) and 4:3 (typically used for video games, and commonly used in standard-definition television).

Also, most movies in theaters have a 1.85:1 aspect ratio. This is also referred to as a broad screen. Movies are also exhibited in considerably smaller proportions on television and computer displays, with varying aspect ratios, such as 4:3 (1.33:1) and 16:9. (1.78:1).

Although 16:9 is the current industry standard, it can be difficult to figure out what else uses the format apart from computer monitors and television sets. After all, filming and distribution to cinemas still adhere to specific aspect ratios, and in many sectors of the filmmaking world, the 1.85:1 aspect ratio is still the conventional "flat" ratio.

However, as discussed above, if you view a 1.85 film on a 16:9 screen, thin black bars are likely to appear at the bottom and top of the screen. Although, most of the 1.85 (including some 2.39) films have been filmed "open matte," which means that the complete image is almost closer to the standard ratio.

This implies that many movies shot for 1.85 might be "opened up" when they are seen on a 16:9 or 4:3 television, eliminating letterboxing and providing more information (visual) at the bottom and top of the screen.

Nonetheless, if a film is shot using contemporary digital technology, it has a fair probability of being framed in almost any ratio. If you stay in 16:9 (like several YouTubers opt for), you may take advantage of a bigger aspect ratio. This is exactly why Netflix and other streaming providers have greater creative latitude and leeway.

Most of the mentioned ratios can be better exhibited and portrayed with HD TVs, cameras, and monitors. Many television shows are broadcast (and even shot) in the native 16:9 ratio, and this is where the 16:9 ratio shines the brightest.

On top of that, we recommend you to choose an LCD monitor that comes with the correct aspect ratio so that there is no difficulty in matching the incoming video signal coming from the camera or other digital gadgets, and that even yourstoryboarding processcan go smoothly.

Nonetheless, due to the effect of 16:9 being used everywhere else, even your phone now comes in widescreen. Although it"s still early in the game, the 16:9 aspect ratio has had a significant influence on how one consumes and enjoys entertaining, and it"s difficult to see anything surpassing it.

Once seen as exotic,televisions and computer monitors, and is also the international standard image format for UHD, HDTV, Full HD, and SD digital television. It has replaced the "fullscreen" 4:3 aspect ratio.

16:9 (1.77:1) (spoken as "sixteen by nine" or "sixteen to nine") is the international standard format of Ultra HD, non-HD digital widescreen television and analog widescreen television systems PALplusWide-aspect Clear-vision.Hi-Vision originally started with a 5:3 (1.66:1) ratio but converted when the international standards group introduced a wider ratio of 16 to 9. Many digital video cameras have the capability to record in 16:9, and 16:9 is the only widescreen aspect ratio natively supported by the DVD standard. It is also the native aspect ratio of Blu-ray discs, but Blu-ray and DVD producers can also choose to show even wider ratios such as 1.85:1, 2.00:1, and 2.40:1 within the 16:9 DVD and Blu-ray frame by hard matting or adding black bars within the image itself.

Derivation of the 16:9 aspect ratioThe main figure shows 4:3, 1.85:1, and 2.35:1 rectangles with the same area A, and 16:9 rectangles that covers (black) or is common to (grey) them. The calculation considers the extreme rectangles, where m and n are multipliers to maintain their respective aspect ratios and areas.

Dr. Kerns H. Powers, a member of the SMPTE Working Group on High-Definition Electronic Production, first proposed the 16:9 (1.77:1) aspect ratio in 1984,6:1 ratio), 1.85:1 (the American "flat" ratio) and 2.35:1 (the CinemaScope/Panavision) ratio for anamorphic widescreen.

Powers cut out rectangles with equal areas, shaped to match each of the popular aspect ratios. When overlapped with their center points aligned, he found that all of those aspect ratio rectangles fit within an outer rectangle with an aspect ratio of 1.77:1 and all of them also covered a smaller common inner rectangle with the same aspect ratio 1.77:1.geometric mean of the extreme aspect ratios, 4:3 and 2.35:1, 47

While 16:9 (1.77:1) was initially selected as a compromise format, the subsequent popularity of HDTV broadcast has solidified 16:9 as perhaps the most common video aspect ratio in use.3:1) and 2.40:1 video is now recorded using a "shoot and protect" technique7:1) inner rectangle to facilitate HD broadcastopen matte.

In 1993, the European Union instituted the 16:9 Action Plan,PALplus (compatible with regular PAL broadcasts) and also in HD-MAC (an early HD format). The Community fund for the 16:9 Action Plan amounted to €228,000,000.

Over a long period in the late 2000s and early 2010s, the computer industry switched from 4:3 to 16:9 as the most common aspect ratio for monitors and laptops. A 2008 report by DisplaySearch cited a number of reasons for this shift, including the ability for PC and monitor manufacturers to expand their product ranges by offering products with wider screens and higher resolutions, helping consumers to more easily adopt such products and "stimulating the growth of the notebook PC and LCD monitor market".

In 2011, Bennie Budler, product manager of IT products at Samsung South Africa, confirmed that monitors capable of 1920 × 1200 resolutions are not being manufactured anymore. "It is all about reducing manufacturing costs. The new 16:9 aspect ratio panels are more cost-effective to manufacture locally than the previous 16:10 panels".

In March 2011, the 16:9 resolution 1920 × 1080 became the most common used resolution among Steam"s users. The previous most common resolution was 1680 × 1050 (16:10).

16:9 is the only widescreen aspect ratio natively supported by the DVD format. An anamorphic PAL region DVD video frame has a maximum resolution of 720 × 576p, but a video player software will stretch this to 1024 × 576p.

Producers can also choose to show even wider ratios such as 1.85:1 and 2.4:1 within the 16:9 DVD frame by hard matting or adding black bars within the image itself. Some films which were made in a 1.85:1 aspect ratio, such as the U.S.-Italian co-production Kenneth Branagh"s 7:1 HDTV screen and have been issued as an enhanced version on DVD without the black bars. Many digital video cameras have the capability to record in 16:9.

In Europe, 16:9 is the standard broadcast format for most digital SD TV channels and all HD broadcasts. Some countries adopted the format for analogue television, first by using the PALplus standard (now obsolete) and then by simply using WSS on normal PAL broadcasts.

Japan pioneered its analogue HDTV system (MUSE) in 16:9 format, which started in the 1980s. There were also analog NTSC-compatible widescreen broadcasts using the Clear-Vision system. Currently all main channels have digital terrestrial television channels in 16:9. Many satellite broadcast channels are being broadcast in 16:9 as well.

All channels, however 16:9 contents look squashed on older 4:3 sets. Also, all 4:3 contents including news clips are stretched as stretching is common.

channels that are originally broadcasting in 4:3 on analog terrestrial, but upscaled or stretched to 16:9 for digital terrestrial television, cable and satellite

The aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as 16:9, 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, 4:3 and 16:9 in television photography, and 3:2 in still photography.

The common film aspect ratios used in cinemas are 1.85:1 and 2.39:1.videographic aspect ratios are 4:3 (1.3:1),16:9 (1.7:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently.

In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently found in consumer cameras, 16:9.medium format and large format.

With television, DVD and Blu-ray Disc, 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 and cropping), 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 in Wide Zoom mode).

In motion picture formats, the physical size of the film area between the sprocket perforations determines the image"s size. The universal standard (established by William Dickson and Thomas 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 4:3, or 1.3:1.

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

The motion picture industry convention assigns a value of 1.0 to the image"s height; an anamorphic frame (since 1970, 2.39:1) is often incorrectly described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1.SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1.

In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have 1.6:1 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 George Stevens" 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 wide-screen formats: CinemaScope (up to 2.6:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.6:1 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 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 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.

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-perforation 35 mm film) to show with the standard projectors available at theaters, and was then masked in the projector to the US 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). It went into obsolescence largely due to better cameras, lenses, and film stocks available to standard four-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was also adapted to 70 mm film by IMAX, 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.

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

Square displays are rarely used in devicesInstagram and Vine and has since been supported by other major social platforms including Facebook and Twitter. 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 of moving picture cameras, and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era. It is also very close to the 1.375:1 Academy ratio, defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-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 of high-definition television, the majority of modern televisions are now produced with 16:9 displays instead. Apple"s iPad series of tablets continue to use 4:3 displays (despite other Apple products typically using widescreen aspect ratios) to better suit use as an e-reader; however, the 2018 iPad Pro 11-inch uses a 1.43:1 aspect ratio.

16:10 (8:5) is an aspect ratio mostly used for computer displays and tablet computers. The width of the display is 1.6 times its height. This ratio is close to the golden ratio "φ

In 2005–2008, 16:10 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.Net Applications, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent.

Notably, Apple used 16:10 for all of its MacBook models until 2021, when the 5th-generation MacBook Pro switched to a taller aspect ratio of approximately 1.54:1.MacBook Air continues to use 16:10 as of 2022.

16:9 (1.77:1) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format of HDTV, non-HD digital television and analog widescreen television PALplus. Japan"s Hi-Vision originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of 5+1⁄3 to 3 (= 16:9). Many digital video cameras have the capability to record in 16:9 (= 42:32), and 16:9 is the only widescreen aspect ratio natively supported by the DVD standard. DVD producers can also choose to show even wider ratios such as 1.66:1, 1.75:1, 1.77:1 and 1.78:1hard matting or adding black bars within the image itself. However, it was used often in British TVs in the United Kingdom in the 1990s. It is now also being used in smartphones, laptops and many types of media.

Equivalent to integer ratio of 37:20. When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.

Since 1998, cinematographer Vittorio Storaro has advocated for a format named "Univisium" that uses a 2:1 format.Netflix and Amazon Video for productions such as

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 2:1 format (advertised as 18:9), as well as the Samsung Galaxy S8, Samsung Galaxy Note 8, Samsung Galaxy S9 and Samsung Galaxy Note 9 with a slightly similar 18.5:9 format.iPhone X also has a similar screen ratio of 19.5:9 (2.16:1).

Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected, images have an approximate 2.00:1, 2.20:1, 2.35:1, 2.39:1, 2.40:1, 2.55.1 and 2.76.1 (often rounded to 21:9) aspect ratio. "21:9 aspect ratio" is actually 64:27 (= 43:33), or approximately 2.37:1, and is near both cinematic movie aspect ratios. Most Indian Bollywood films were shot in the 1.37:1 ratio until 1972, when 2.39:1 became standard for all Bollywood movies.

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), where r stands for ratio, written as a fraction of x by y, and d for diagonal length.

This article primarily addresses the aspect ratio of images as 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 square 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 the pixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity:

For example, a 640 × 480 VGA image has a SAR of 640/480 = 4:3 and, if displayed on a 4:3 display (DAR = 4:3), has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, 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.

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 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 main 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 computer display modes, such as Color Graphics Adapter (CGA). Today they arise particularly in transcoding between resolutions with different SARs.

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

1.19:1 (19:16): Sometimes referred to as the Movietone 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 1.3 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

1.25:1 (5:4): 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 (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.

1.3:1 (4:3): 35 mm original silent film ratio, today commonly known in TV and video as 4:3. Also standard ratio for MPEG-2 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 Super 35 mm ratio.

1.375:1 (11:8): 35 mm full-screen sound film image, nearly universal in films between 1932 and 1953. Officially adopted as the Academy ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used in other contexts.

1.5:1 (3:2): The aspect ratio of 35 mm film used for still photography when eight perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally. Used on the ChromeOS-based Chromebook Pixel notebook PC, the Game Boy Advance portable game console, the Surface Pro 3 laplet, and Surface Studio.

1.5:1 (14:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 and 16:9. When converted to a 16:9 frame, there is slight pillarboxing, while conversion to 4:3 creates slight letterboxing. All widescreen content on ABC Family"s SD feed until January 2016 was presented in this ratio.

1.6:1 (5:3): 35 mm widescreen ratio, originally invented by Paramount Pictures, later a standard among several European countries.Walt Disney Feature Animation"s CAPS program animated their features in the 1.6:1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.3:1 ratio used for home video); this format is also used by the Nintendo 3DS"s top screen.

1.75:1 (7:4): Early 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

1.7:1 (16:9 = 42:32): Video widescreen standard, used in high-definition television, one of three ratios specified for MPEG-2 video compression. Also used increasingly in personal video cameras. Sometimes this ratio is rounded to 1.78:1.

1.85:1 (~37:20): 35 mm US and UK widescreen standard for theatrical film. Introduced by Universal Pictures in May 1953. Projects approximately three perforations ("perfs") of image space per four-perf frame; films can be shot in 3-perf to save cost of film stock. Also the ratio of Ultra 16 mm. One of two common formats in digital cinema, where it is called "flat".

Red Digital Cinema Camera Company. Original SuperScope ratio, also used in Univisium. 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 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 similar 18.5:9 ratio.

2.35:1 (~47:20): 35 mm anamorphic prior to 1970, used by CinemaScope (""Scope") and early Panavision. The anamorphic standard has subtly changed so that contemporary anamorphic productions are actually 2.39:1,(Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.

2.370:1 (64:27 = 43:33): TVs were produced with this aspect ratio between 2009 and 201221:9 cinema displays". But this aspect ratio is still seen on some higher-end monitors, which are sometimes called UltraWide monitors.

2.39:1 (~43:18): 35 mm anamorphic from 1970 onwards. Aspect 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 notation of 2.39:1, also as 2.40:1. Blu-ray Disc film releases may use only 800 instead of 803 or 804 lines of the 1920×1080 resolution, resulting in an even 2.4:1 aspect ratio.

2.55:1 (~51:20): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.

2.6:1 (8:3): Full-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 16 mm negative. Also used by Kirill Serebrennikov for Leto (2018).

2.76:1 (69:25): Ultra Panavision 70/MGM Camera 65 (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 Cinerama, and films such as Quentin Tarantino used it for Gareth Edwards used the process for shooting

12:1: Circle-Vision 360° developed by the Walt Disney Company in 1955 for use in Disneyland. 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.

Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced, as envisioned by the people involved in the creation of the work. As an example, the film Super 35 and, in addition to being presented in cinemas and television in the Original Aspect Ratio of 2.39:1, it was also broadcast without the matte, altering the aspect ratio to the television standard of 1.3:1. 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 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 1.3:1 (historically), or (with the advent of widescreen television sets) 1.7:1 aspect ratio. 1.3:1 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 pan and scan or EAR (Expanded Aspect Ratio)/open matte, the latter meaning 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.

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

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

4:3 is used by most digital point-and-shoot cameras, Four Thirds system, Micro Four Thirds system 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 computer monitors.

3:2 is used by classic 35 mm film 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 (25.1 mm × 16.7 mm) but retaining the same "classic" 3:2 proportions as full frame 35 mm film cameras.

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 of HDTV, 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 for panorama 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.

Common print sizes in the U.S. (in inches) 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 of 120-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 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the American Society of Cinematographers" American Cinematographer Manual (Many widescreen films before the 1970 SMPTE revision used 2.35:1).

Nowak, Arne (October 2010). "Digital Cinema Technologies from the Archive"s Perspective" (PDF). International Federation of Film Archives. p. 4. Retrieved May 16, 2016.

Kauffman, Jeffrey (September 19, 2020). "The Wild Goose Lake Blu-ray Review". Blu-ray.com. Retrieved 28 January 2022. The Wild Goose Lake is presented on Blu-ray courtesy of Film Movement with an AVC encoded 1080p transfer in 1.90:1.

A projector"s aspect ratio refers to the ratio between its width and height. For example, a 4:3 display produces an image that is more square, where a 16:9 ratio produces an image that is more rectangular in shape.

Which is best for you? It depends what you plan to project. As always, your best bet is to match your projector"s aspect ratio with that of your source.

Most people who use their projectors for presentations will find a 4:3 aspect ratio does the trick. However, the computer display industry has been moving away from the 4:3 format in recent years. If your laptop has a widescreen display, a video projector with 16:9 or 16:10 resolution capabilities would likely be a better choice.

It is worth noting that most 16:10 or 16:9 native aspect ratio projectors are capable of displaying 4:3 aspect ratioswithoutanyissues at all. We know this can be a bit confusing and we"d love the opportunity to answer any questions you might have. If you have a question about this, just give us a call at 1-888-248-0675 or start an online chat with one of our experienced reps.

16:9 is the standard aspect ratio of Blu-ray discs and HDTV signals. It is the only widescreen aspect ratio natively supported by the DVD. Most home theater projectors employ this aspect ratio.

Knowledge of different aspect ratios is proving quite essential when deploying various digital signage solutions. As technology advances, digital signage continues to outpace its static counterpart. Nowadays, businesses are embracing interactive digital signage to boost user experience.

Interactive mediums involve customer participation, and the content could range from text, animation, video, audio, and even games. Here a 3:2 or 4:3 ratio would do just fine. For motion signage, businesses would always go for the highest resolution possible (4k), supported by the 16:9 aspect ratio.

On the other hand, static digital signage includes audio, video, and images that do not change or adapt to the adjacent environment. The choice of aspect ratio will depend on the resolution needed, the type of content, and what the business wants to accomplish.

The 4:5 or the 1.91:1 is a vertical or portrait format (1080 x 1350px) commonly used for Instagram main feed. When you multiply this by 2, you get 8:10. This is the aspect ratio used with the popular 8″ x 10″ photos and can work well for digital advertising on relatively smaller screens.

The 16:9 is a widescreen aspect ratio widely used in video players. It’s one of the most common aspect ratios you’ll find in the latest TV designs. This 4k aspect ratio supports up to 4096 by 2160 pixels (px) and works well with high-definition marketing videos.

The 16:10 became popular between 2005 and 2008, where it was common with laptop displays. If you are using a native wide XGA projector, this would be the best option to choose. An XGA projector receives 1920 x 1080 px but outputs 1024 x 768. Some computer monitors still use this aspect ratio.

Aspect ratio and resolution are two terms that describe the format and the quality of an image you see on a screen. Understanding these terms will guide you when designing content for your digital signage. By now, you must be familiar with aspect ratio. Let’s see what resolution is and how it relates to the image or video aspect ratios.

Resolution is the number of pixels/dots making up the picture/video on your screen. The more the number of dots/pixels in a picture, the higher the resolution, which means high-quality images and videos to create a captivating display. To get the resolution, you multiply the width (W) times the height (H) while dividing the two for the aspect ratio.

A higher resolution video contains more details than a lower-resolution video and would need a larger screen to display everything. When displaying smaller file sizes, you’ll need to encode your high-quality video into a lower-resolution copy. Once you know what your audience wants to see, it’s easy to choose the right aspect and resolution. You’ll then proceed to develop content for your digital signage that will meet your audience’s expectations.

How to find the aspect ratio of video/image? Locate the pixel dimensions of the image or video you have (e.g., 4096 by 2160 pixels). Divide the long side (higher number) by the short side (lower number). Then take note of the resulting number (here, the answer would be 16:9).

How to check the aspect ratio of the monitor? Find the ratio of width to height by dividing the height by the width. Some monitors allow you to change the display’s proportions via settings.

If the content source has fixed formatting and can’t modify the monitor’s aspect ratio to suit your viewing needs, you’ll need to use encoding software to change the proportions of the content. In summary, aspect ratio challenges can be solved by investing in the right digital signage hardware and the software.

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Before you take a photo or record a video, you need to consider which aspect ratio to use. Two of the most common aspect ratios in media are 16:9 and 4:3, but which one is best for you? Depending on the purpose of your project, certain aspect ratios can have their own advantages. This post will break down exactly what aspect ratios are and what they mean for your photo and video work.

The 16:9 aspect ratio, also known as widescreen, is best for video since it’s 78% wider than it is tall. This makes it easier to fit more in your frame horizontally while optimizing your video for modern screens. Meanwhile, the 4:3 aspect ratio works better for photography since it’s only 33% wider than it is tall and works better for print.

Choosing an aspect ratio to shoot with can be challenging if you don’t understand the differences. Let’s go through the different types of aspect ratios you’ll commonly shoot with, and finally, decide whether 16:9 or 4:3 is the better option.

Aspect ratio is the difference in the width and height of your image. For example, a 16:9 aspect ratio could be considered as a frame that’s 16 inches wide by 9 inches tall. There are many aspect ratios in photo and video, but the one you choose ultimately depends on where you intend to display your images.

There are far more aspect ratios than just 16:9 or 4:3, but those are two of the most common in photo and video. A third common aspect ratio in modern photography is 3:2, which matches the 35mm size of a full-frame sensor.

As you change your aspect ratio, you tell your camera what parts of your frame you want to actually record. With a 16:9 ratio, you’ll recordless information vertically in your frame, but it will display better on most modern TV and computer monitors.

That’s why the aspect ratio is usually decided based on the final intention for the photo or video. Where will it be displayed, and in what format do you intend and audience to view it?

The same thing applies if you have a 16:9 image that you want to put onto a 4:3 display—something like an 8X10 printed photo, which would have a 4:3 aspect ratio for example.

The 16:9 aspect ratio creates a frame that’s 78% wider than it is tall. The 4:3 aspect ratio, on the other hand, creates a frame that’s 33% wider than it is tall. The difference between these two aspect ratios is that 16:9 records more information horizontally, while 4:3 records more vertically.

The 4:3 aspect ratio was the starting aspect ratio in the beginning days of television in the 1940s. If you think back to that old TV your parents or grandparents had, it would have been more square in shape. This was because the TVs were optimized to display the 4:3 images that the first silent films were created in.

However, the aspect ratio was slightly adjusted when sound was added to films. Rather than a true 4:3 ratio (1.33:1), the pictures were enlarged to 1.37:1, extending the frames horizontal width by 4%.

As home televisions began to increase in popularity, movie producers and theatres were afraid that they’d be put out of business. To help draw in more audiences, they changed their films to be shot in 16:9 for a wider view than what you got at home. With a wider frame, it made films feel more immersive and larger than life.

Now that you understand what aspect ratios are let’s discuss which ones you should use. The problem is, you’ll want to use a different one depending on what you’re shooting. Since photos and videos tend to be displayed and used differently, the best aspect ratio varies between the two.

The best aspect ratio for photography is 4:3 or 3:2 since it’s most compatible for print and displays well on social media. Between the two, the 3:2 ratio is one of the most popular aspect ratios used in modern photography.

Since these aspect ratios are only slightly wider than they are tall, it’s easier to include everything in your frame. From your foreground, mid-ground, and background, you have more real estate to work with.

With that said, some photographers will experiment with other aspect ratios for creative reasons. Especially if they intend to use very specific dimensions for print, they might shoot in an aspect ratio that will reduce the amount of cropping needed later on.

The best aspect ratio for video is 16:9 since it fits most modern displays such as TV’s, tablets, phones, and computer screens. Rather than having black bars around your image, this aspect ratio lets you display your entire video without cropping.

Since video is only viewed horizontally, using a wider aspect ratio makes a lot of sense. With 16:9, you can fill the entire frame and optimize the viewing conditions for your audience.

The proper aspect ratio to use will depend on the project or whether you’re shooting photo or video. As a general rule of thumb, shoot video in 16:9 and photos in 4:3 or 3:2 aspect ratios. That way, if you aren’t sure, this baseline is the perfect place to start.

In my own work, I only shoot video in 16:9 while taking photos in 3:2. Although 3:2 is a slightly smaller frame than 4:3, I prefer it since it doesn’t feel overwhelmingly boxy.

You can change the aspect ratio you shoot in from the menu settings on any modern digital camera. The next time you’re out taking photos or video, play around with the aspect ratios on your camera to see the results. I’ve always found that the best way to learn something is to see it for yourself, and this is the perfect way to do so!

So now you know the difference between 16:9 and 3:2 aspect ratios in photo and video. Ultimately, the aspect ratio simply dictates the width and height of your frame. The correct one you use solely depends on how you intend to display your images after you capture them.

The aspect ratio of a broadcast can make all the difference for an audience. No one likes fiddling with widescreen settings, or constantly rotating their phone to get the right view. Broadcasting your stream in the proper aspect ratio will ensure the best picture is delivered to your audience.

Aspect ratio is one of the most frequently misunderstood parts of video content creation. It can be tough to keep track of all t