225 422 aspect ratio lcd monitors free sample

This chart shows the most common display resolutions, with the color of each resolution type indicating the display ratio (e.g. red indicates a 4:3 ratio).

The combination (which occurs by multiplication) of both the pixel aspect ratio and storage aspect ratio giving the aspect ratio as experienced by the viewer.

Video Graphics Array:MCGA (in monochome), Sun-1 color, Sony PlayStation (e.g. Tobal No.1 and Ehrgeiz), Nintendo 64 (e.g. various Expansion Pak enhanced games), 6th Generation Consoles, Nintendo Wii

For television, the display aspect ratio (DAR) is shown, not the storage aspect ratio (SAR); analog television does not have well-defined pixels, while several digital television standards have non-square pixels.

Many of these resolutions are also used for video files that are not broadcast. These may also use other aspect ratios by cropping otherwise black bars at the top and bottom which result from cinema aspect ratios greater than 16∶9, such as 1.85 or 2.35 through 2.40 (dubbed "Cinemascope", "21∶9" etc.), while the standard horizontal resolution, e.g. 1920 pixels, is usually kept. The vertical resolution is usually a multiple of 8 or 16 pixels due to most video codecs processing pixels on such sized blocks. A widescreen FHD video can be 1920 × 800 for a 12∶5 ratio or 1920 × 1040 for roughly 1.85 × 1, for instance.

The below distinguish SAR (aspect ratio of pixel dimensions), DAR (aspect ratio of displayed image dimensions), and the corresponding PAR (aspect ratio of individual pixels), though it currently contains some errors (inconsistencies), as flagged.

LCD panels" resolutions are often quoted in terms of raw subpixels, misnamed "pixels" in manufacturer"s specifications. Each real pixel includes one subpixel for each of three colors, so calling subpixels "pixels" inflates the claimed resolution by a factor of three. This bit of marketing obfuscation is calculated as horizontal resolution × vertical resolution × 3. For example: 640 × 480 VGA is 921,600 subpixels, or 307,200 pixels, 800 × 600 SVGA is 1,440,000 subpixels, or 480,000 pixels, and 1024 × 768 XGA is 2,359,296 subpixels, but only 786,432 full-color pixels.

The “Nearest Neighbour” interpolation is only lossless at integer ratios of sizes of resulting and original images, but results in distortion at fractional ratios due to different sizes of resulting pixels:

If resolutions of the display and the image are not divisible, the image is scaled with such an integer ratio that results in filling the screen as fully as possible, and the rest screen space is filled with black background the same way as when the image is centered on the screen with no scaling.

With 4K monitors of 24—27″ size at Full HD resolution, single image pixels are almost indistiguishable, so blur does not add any smoothing and just senselessly decreases sharpness resulting in an unreasonable quality loss.

When using even integer scales in conjunction with 4:2:2 or 4:2:0 chroma subsampling, integer-ratio scaling on signal-source side allows to decrease needed video-interface bandwidth by two or four times correspondingly with no quality loss. For example, 4K at 4:2:0 needs the same bandwidth as Full HD at 4:4:4.

For example, at the 320×240 resolution typical for DOS games, just 89% of the height of a Full HD (1920×1080) display is used (used 960 of 1080 pixels with the ratio of 4), while the height of a 4K monitor is used entirely (scale is exactly 9).

For example, for the resolution of 256×224 typical for 16-bit game consoles such as SNES and Sega Genesis (Mega Drive), the maximum integer ratio on a Full HD display is 4 (the full fractional ratio is 4.82), so 184 pixels are lost vertically by default, or 17% of the screen height.

With a higher-resolution display, it’s possible to achieve a more precise aspect ratio of the image when doing integer scaling with aspect-ratio correction enabled.

For example, for the resolution of 256×224 typical for 16-bit game consoles such as SNES and Sega Genesis (Mega Drive), on a 4K display, aspect-ratio error relative to the perfect aspect ratio of 4:3 is 5%, while on a 8K display, the error is below 1%.

On 8K displays, integer-ratio scaling allows to use with no loss of quality or screen space, any of the typical resolutions, effectively allowing to flexibly change the native display resolution:

In Windows 10, for games with support for the “Borderless” pseudo-full-screen mode (a window with no borders that has a size of entire screen), it’s possible to use nonblurry scaling with a ratio equal to system-level zoom.

Depending on whether the area aspect-ratio is lower or greater than the target one, make the needed horizontal or vertical integer scale equal to the maximum one on this axis.

Calculate the width UW and the height UH of the scaled image by multiplying, correspondingly, the width W and the height H of the original image by the ratio R.

With a proper implementation of integer-ratio scaling, the results of scaling the provided original images must be identical to the provided reference renderings of scaled images.

The simplest user interface for controlling nonblurry upscaling could be represented by a single checkbox “Prevent blur when upscaling” intended for enabling integer-ratio scaling with no blur.

The first one enables/disables blur, the second one enables/disables using solely integer ratios for pixel-perfect upscaling with no distortion of the image.

With integer-ratio scaling, the scale is always integer (e. g. exactly 4 in the 640×480→4K case) — regardless of the native-to-logical resolution ratio.

comfort during working with text in any way (web surfing, text editors, programming, web development), drawings, charts is enormously higher on a 4K monitor than on a FHD monitor, thanks to the increased detail, invisible interpixel grid and greatly decreased sequential flickering of sub­pixels caused by crystal inversion specific to the LCD technology;

For example, when scaling 320×240 to Full HD, 1/9 (11%) of the screen height is lost (filled with black) (1080/240 = 4,5), while on a 4K display, the ratio is exactly 9, so the image occupies the entire height of the screen.

While developers of a specific game could indirectly utilize this feature for integer-ratio scaling in this specific game, scaling textures is not directly related to universal full-screen scaling transparent to operating system and software.

When using integer-ratio scaling, the image is rendered at a resolution lower than the native display resolution and then upscaled (stretched) with no blur to the resolution less than or equal to the display resolution while using a highest possible integer scale.

The only thing that DSR/VSR and integer-ratio scaling share is the universal resolution virtualization transparent to operating system and software and compatible with all full-screen applications.

Integer-ratio scaling with no blur is free of quality loss caused by blur, and a proper implementation should be compatible with all full-screen applications.

With integer-ratio scaling with no blur, all image pixels are rendered, then the image is upscaled without altering it in any way and calculating any average colors.

The feature is available for GPUs of multiple previous generations starting with the 2nd-generation GCN architecture (2013) including GPUs of the R7 260, R9 285 and R9 290 series.

The AMD implementation of integer scaling reportedly allows to combine integer scaling with Radeon Image Sharpening (RIS) and VSR, that, along with support for previous-generation GPUs, is an advantage over the nVidia’s implementation.

Combining VSR with integer scaling potentially allows e.g. entirely use Full HD screen height at logical resolution of 320×240 (pure ratio is 4.5) at the cost of some blur of pixel edges as a result of turning the native Full HD resolution into the virtual 4K (the ratio is exactly 9).

Based on the program code and the description of the patch from October 17, 2019, integer-ratio scaling is going to be transparently used in the existing Centered mode and is not going to be available as a separate scaling mode.

Support for nonblurry full-screen integer-ratio scaling is available in the Intel graphics driver for Windows since the beta version 25.20.100.7155 (2019-08-30).

“Scaled width” means just using the “Nearest neighbour” resizing algorithm, while “Fixed width” is Nearest neighbour combined with using solely integer ratios to prevent image distortion — i. e. integer scaling.

Support for integer scaling is available in nVidia driver for Windows since the version 436.02 (2019-08-20), but only when using graphics cards of the Turing generation (RTX and GTX 16*) and only in Windows 10 version 1803+ (Redstone 4) released on April 2018.

According to nVidia, incompatibility with HDR and custom resolutions is an unsurpassable fundamental limitation of the programmable filter used to implement integer scaling, and this can’t be fixed at least for Turing-generation nVidia GPUs.

Eve/Dough Spectrum are the world’s first computer monitors with built-in pixel-perfect (integer) scaling. The feature is already implemented and does work: tested by yours truly.

The monitors are based on LCD panels “Nano IPS” produced by LG Display, with a response time of 1 ms and support for variable refresh rate (VRR) “FreeSync Premium Pro” (“G-Sync Compatible”) with a minimal rate of 48 Hz and high dynamic range (HDR): HDR600 for the higher-level models and HDR400 for the lower-level one.

You might not be aware of this fact, but every frame, digital video, canvas, responsive design, and image often has a rectangular shape that is exceptionally precise in proportion (or ratio).

If you are working on a digital video, it is essential to initially compress the files of the digital video in order to get the accurate dimensions (or aspect ratios) of the video.

You have to understand what aspect ratios are in order to easily move designs, images and compress digital video files/content from one medium to another without making any error in your calculations.

Aspect ratios are largely defined by numbers, as in a mathematical ratio that clearly defines how many inches high and how many inches wide your video, image and design projects should be.

While aspect ratios are measurements of the height and width, they are often reduced to the smallest usable ratio in order to fit perfectly in every medium.

To achieve a perfect aspect ratio, you must employ the use of an aspect ratio calculator. It reduces any margin of error. Check the what is aspect ratio post.

The role of aspect ratio in digital video has caused quite a bit of confusion, partly because there are actually three types of aspect ratio, not just one. The kind of aspect ratio most people know is the Display Aspect Ratio (DAR). This is the ratio of the width to the height of the display frame for the video, the aspect ratio of what we see. Typically, this ratio is 16:9 (widescreen) or 4:3 (full screen).

There are, however, two other kinds of aspect ratio that play an important role in digital video: the Pixel Aspect Ratio (PAR), and the aspect ratio of the stored data which we will call the Storage Aspect Ratio (SAR). We will try to clarify here how these three aspect ratios work and what role they play in digital video.

When digital video is stored into a file or on a disc, it is stored with a particular frame size and aspect ratio, the SAR. If the viewing aspect ratio, the DAR, matches the SAR, then the process of the displaying the stored video is simply a matter of proportionally scaling it to the correct size. For this situation, DAR = SAR. An example of this might be a 16:9 display showing video stored with a frame size of 1280x720 pixels. Both have the same aspect ratio.

In other cases, the video may be stored with an aspect ratio SAR that does not match the display. Here the process of displaying the video involves distorting the stored video ratio SAR to make it match the desired viewing aspect ratio DAR. An example of this might be a 16:9 display showing video stored with a frame size of 720 x 480 pixels. The SAR is 720:480 = 3:2, an aspect ratio which does not match the 16:9 display. The stored video must be stretched horizontally or squeezed vertically to match the display correctly.

The latter situation is often referred to as "anamorphic" video. To correct for it, we introduce the third type of aspect ratio, the Pixel Aspect Ratio (PAR). The basic relationship between the three apect ratios is DAR = PAR * SAR.

Anamorphic video with non-square pixels is more of an issue for Standard Definition (SD) video rather than for High Definition (HD) video. This is mostly because of the widespread use of SD compression formats such the DV camcorder formats and DVD discs. SD video for these formats is typically stored with a frame size of 720x480 pixels (NTSC video) or 720x576 pixels. These correspond to SAR values of 3:2 and 5:4 respectively. Since the video DAR display aspect ratio is either 4:3 or 16:9, the pixels are non-square and the PAR is not 1:1.

For HD video, the DAR display aspect ratio became fixed at 16:9. During the transition to HD, however, several "high-definition" compression formats were introduced for camcorders. These include formats such as DVCPRO-HD, HDV, HDCAM, XDCAM, etc. Because of data rate limitations, these formats may not necesarily store video in native 16:9 formats, but instead may use squeezed anamorphic formats. Examples include using 960x720 instead of true 720p (1280x720), and 1280x1080 or 1440x1080 instead of 1080i or 1080p (1920x1080). All of these formats therefore use non-square pixels with PAR pixel aspect ratios that are not 1:1.

More recent HD storage formats such as AVCHD, Blu-ray, DNxHD, ProRes 422, etc. all store HD video in the native frame size. In other words, 1280x720 is stored as 1280x720 and 1920x1080 is stored as 1920x1080. As a result, the DAR and SAR aspect ratios are the same and the PAR aspect ratio is 1:1. These newer HD formats are therefore not anamorphic.

The motion picture industry uses a variety of display aspect ratios, ranging from the nearly 4:3 "Academy" ratio of 1.37:1 used up until the 1950s, to extreme widescreen formats such as Panavision, VistaVision, or CinemaScope at 2.39:1 or even 2.67:1. Most modern films use a ratio of 1.85:1 which is somewhat flatter than 16:9 (1.78:1).

The digital video aspect of 16:9 was chosen as a compromise size to best accomodate the various widescreen sizes in use in the film industry. Conversion of film into 16:9 digital video formats is fairly straightforward. Since film aspect ratios are somewhat flatter than 16:9, in what is known as the "letterbox" process black bars are added above and below the image as padding during the digital transfer.

In the case of older films and TV broadcasts with aspect ratios closer to the "full-screen" ratio of 4:3, there are typically two methods used to convert the material into a 16:9 aspect ratio. The first method is called "pillarbox" and it involves adding black bars as padding on the left and the right of the image. This preserves the proportions of the original material, but at a cost of wasting a large portion of the 16:9 display. The second method is involves horizontally stretching the full screen material to fill the 16:9 display. This method distorts the proportions of the original content.

Although high-definition television has made 4:3 aspect ratio displays less and less common, conversion of widescreen film into full screen 4:3 aspect digital formats is another important problem. There are typically two methods used. The first is called cropping, and it consists simply of chopping off the left and right sides of the widescreen frame to make a full screen view centered in the middle of the widescreen frame. The problem with cropping is that often the edges of the widescreen frame show action that is important to the film.

The first problem is that some popular container formats do not support the required PAR pixel aspect indicator flags. Two obvious examples are AVI and DV Stream. When video is stored into these containers, only the frame size may be specified (giving the SAR). The PAR cannot be stored. Players and editors therefore have to guess as to what the correct PAR is to get the right DAR aspect ratio.

The second problme is that even if a container format supports PAR indicator flags, they may be incorrectly specified. There may also be several different indicator flags with inconsistent values. Players and editors therefore may or may not get the correct PAR and DAR aspect ratios.

As an example of this last problem, consider QuickTime which supports true PAR flags (known as "pasp" data), but also supports alterate means of specifying the DAR using the "track matrix" as well as a specific "16x9" aspect flag for DV compression. The following table shows how various QuickTime players and editors behave with these flags.

In general, to convert anamorphic video into video with square pixels you render the video into a horizontally stretched or squeezed form that matches the expected display aspect ratio. This makes DAR = SAR so that the PAR becomes 1:1.

For anamorphic standard definition video, the frame size will typically be either 720x576 (for PAL) or 720x480 (for NTSC). To convert these into widescreen 16:9 non-anamorphic square pixel formats, we stretch them horizontally until the SAR becomes a 16:9 aspect ratio. For 720x576, the video will be rendered to 1024x576 with the horizontal size stretched by a factor of 1024/720 = 64/45. For 720x480, the video would normally be rendered to 853x720 with the horizontal size stretched by a factor of 853/720. Since 853 is odd and this stretch factor is a complicated irreducible fraction, a close approximation is to use a display frame size of 864x480 and stretch horizontally instead by a factor of 864/720 = 6/5. To convert to a 4:3 full screen aspect ratio, the video would be rendered to a 768x576 or 640x480 frame size by stretching or squeezing the image horizontally.

If you are planning to eventually display the video on a TV by creating a DVD or a Blu-ray disc, it is best to maintain the video in anamorphic form throughout the editing process. Use a container format such as QuickTime that supports metadata to specify the correct pixel aspect PAR value. When importing the video into your editing software, make sure to set up your project to specify the correct display aspect ratio that matches your video.

If you are planning to eventually display the video on a computer or portable device or post it on the web, then we recommend converting the video into non-anamorphic square pixel form such that the PAR pixel aspect is 1:1. This is because computers, devices, and web players almost universally expect video to be non-anamorphic with square pixels. As much as possible, try to render the video into a frame size with a horizontal size in pixels that is divisible by 16 or 32. This will ensure optimal results for any compression you may do on your video, since nearly all video compression codecs will pad video to ensure a horizontal size that is divisible by 16 or 32.

Aspect ratio is the relationship between width and height of an image. It"s usually written as two numbers separated by a colon, as in 16:9. It can also be written with an “x” between the numbers.

When you’re editing or resizing images, it’s essential to have an aspect ratio calculator. Especially if you’re going from widescreen to full-screen aspect ratio.

When using a storyboard, make sure all the things you shoot match the same ratio. You don’t want to be on set and shoot 16:9 and then later edit to 4:3.

Gain more accurate insight into the shoot you"re planning by using StudioBinder to choose from an extensive list of aspect ratios tailored to your needs.

As an example, check out this storyboard list from The Master.We"ve added actual shots from the film. Click into the app to test different views with the aspect ratio menu in the top left corner:

Nowadays, there are some common aspect ratios everyone should know. The most common film ratios used today in movie theaters are 1.85:1 and 2.39:1 as well as 16:9.

There has been a particular aspect ratio that has become quite popular as of late: 2:1. Thanks to legendary DP Vittorio Storaro, who envisioned the merger of cinema and TV into a single size, 2:1 is an option filmmakers like David Fincher and Ari Aster are choosing.

Television companies fell in line and created TV monitors that mirrored this display. As computers rose to prominence, their screens also favored 4:3.

After widescreen televisions evolved, many TV productions had to get their aspect ratio calculators out to edit their shows with the new requirements.

The 16:9 aspect ratio is also known as 1920 x 1080 pixels. 16:9 didn’t become the standard for televisions and computer monitors until 2010. A man named Dr. Kerns Powers came up with the ratio as a compromise to traditional broadcasting in the 1980s.

Today, 16:9 is the preferred aspect ratio of Netflix. Netflix counts on people watching on their laptops and flatscreen TVs. If they’re watching a movie or show filmed in a different aspect ratio, Netflix will sometimes edit the program to fit better.

“We want to offer the best picture and provide the original aspect ratio of any title on Netflix. However, unfortunately our quality controls sometimes fail and we end up offering the wrong version of a title. When we discover this error, we work to replace that title as soon as possible.”

Cinema has struggled to keep up with the rise in home theaters. As Netflix, Amazon and Hulu work to create more content, they’re also working to fix their aspect ratio problem so you can view anything you want at home without cropping.

Technology now allows a director to pick whatever aspect ratio they want for their art. You might be hampered by where the movie is showcased, but you can now use this to your advantage.Sean Bakerused the iPhone to create an intimate portrait of the trans community in Tangerine. He understood that seeing the world through a lens and aspect ratio of an iPhone would paint an intimate picture.

Recently, Paul Schrader used a 1.33:1 aspect ratio for his movie, First Reformed. It created a tinderbox of emotions and tension as the story progressed. We felt boxed in, like a caged animal ready to attack. That reflected the character’s story arc.

Social Media is key to any advertising or video posting. Instagram shoots photos and square format videos, but it supports four unique aspect ratios. This means you can be flexible with what you post.

When you tweet videos, you have to keep in mind that people will be scrolling when they see them. Twitter crops videos to make them fit their timeline. An aspect ratio calculator can help with the math.

So, you’re ready to make a new video project? Now that you’ve got the aspect ratio squared away, it’s time to plan your shots. We have some opinions on whose software is best for that, but we’ll let you decide.

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Aspect ratio is the relationship of the width of a video image compared to its height. The two most common aspect ratios are4:3, also known as 1.33:1 or fullscreen, and 16:9, also known as 1.78:1 or widescreen. (Larger aspect ratio formats are used in the motion picture industry.)

All the older TV’s and computer monitors you grew up with had the squarish 4:3 shape– 33% wider than it was high. These are often referred to as square monitors.  4:3 LCD monitors can display analog video signals that conform to NTSC and PAL standards. They are not capable of displaying HD (high-definition) video.

The 4:3 aspect ratio dates back to 1917, when the Society of Motion Picture Engineers adopted it as the standard format for film. In the 1930’s, the television industry adopted the same 4:3 standard. But in the mid-1950’s, the motion picture industry began developing several widescreen formats to improve their decreasing audience numbers. Television broadcasting stayed with the 4:3 standard, until the recent move to HDTV and 16:9 widescreen.

16:9 is the native aspect ratio of most high-definition widescreen LCD monitors and TV’s (16:9 and 16:10 are very similar). It is 78% wider than it is tall, and fully one-third wider than a 4:3 screen. 16:9 widescreen monitors are ideally suited to display HD video signals. Some models can also display SD (standard definition) video signals, but this will require some compromises, as you will read below.

Nearly all experts agree that in order to display optimal video images, it is critical to match the aspect ratio of the monitor to the aspect ratio of the camera (or other incoming video source). Below is a example of a 16:9 image on a 16:9 widescreen lcd monitor:

However, many cameras in the industrial, commercial, security, and law enforcement industries still utilize 4:3 CCD or CMOS imagers. Therefore, to display clear, undistorted video images, it is important to utilize monitors with the same 4:3 aspect ratio to match the cameras. Failure to do so will result in distorted images, as shown below.

Unfortunately, despite the continued widespread use of 4:3 cameras, LCD monitors with a 4:3 aspect ratio are getting harder and harder to find. Many manufacturers have abandoned them in favor of the newer 16:9 widescreens. TRU-Vu Monitors still offers a complete line of industrial-grade 4:3 aspect ratio LCD monitors. These range in size from 5.5″ to 19″ screens. They are available with standard, waterproof, steel or open frame enclosures. They can be touch screen,  sunlight readable, medical-grade, or optically bonded.

16:9 widescreen LCD monitors are the ideal complement to 16:9 format HD cameras. These are increasingly used in video conferencing, broadcast and medical applications. They display superb, distortion-free, high-definition images. TRU-Vu Monitors offers these in 7″, 10.1″, 13.3″, 15.6″, 17.3″, 18.5″ and 21.5″ to 65” LCD screen sizes, in standard, touch screen, sunlight readable, medical-grade, optically bonded and open frame configurations.

You must avoid video images which are stretched, chopped, squeezed, shrunk or distorted. Be sure to choose a LCD monitor with the correct aspect ratio (4:3 aspect ratio or 16:9 aspect ratio) that matches your camera or other incoming video signal.

When watching television, have you noticed how certain old movies play with black padding on either side of the screen? Well, that’s because the aspect ratio they were shot in, was different from that of the screen you watched it on. Today, we use several devices having different aspect ratios. With96% of marketersdedicating ad spends to video and 70% businesses creating more videos in 2022 than they did in 2021, knowing about video aspect ratio has become imperative.

Fret not. We understand that seemingly technical aspects like the aspect ratio can get a little intimidating, but honestly, it’s an extremely simple concept. With this guide that we’ve put together for you, you simply cannot go wrong! Not just that but we will also show you how you can change the aspect ratio of a video using InVideo’sonline editor.

In simple words, the aspect ratio is the ratio between the width and the height of a video or a screen. It determines how wide (or long) your video will be. As you would’ve guessed, aspect ratio is also used in the context of still images, but since we’re talking about video, in this article, we will not digress to include aspect ratio for image.

Aspect ratios are usually written as – x : y and read as – x by y.The first number refers to the width, while the second to the height. For example, if a video’s aspect ratio is 16:9, the number 16 refers to its width, while 9 refers to its height. If a video of the same dimensions was to be recorded vertically, the aspect ratio would then be 9:16 (9 referring to the width, while 16 to the height).

Wondering how to calculate aspect ratio? The aspect ratio formula is nothing but x:y where x is the width and y, the height, for example, 1:1 or 3:2. A resolution of 500 x 500 px would have an aspect ratio of 1:1 since the width and height are the same. Even for 1000 x 1000 px, the aspect ratio would remain 1:1, since the proportion between the width and the height remains the same.

A video shot in 1920 x 1080 px resolution would have an aspect ratio of 16:9 since the width (1920 px) is 1.7 times the height (1080 px), which is the same proportion as 16/9 or commonly written as 16:9.

The aspect ratio can refer to your video aspect ratio, meaning the aspect ratio in which you would record your video. It may also refer to that of a display (or screen), meaning the aspect ratio in which your video would play on the screen of a device or a projection screen.

Here’s some good news. You do not have to wait until you record your video to later check its aspect ratio. Most video recording devices today come with settings that allow you to choose the aspect ratio that you would like to record your video in.

While the aspect ratio you would record your video in, depends on where your video will be played, the most common one that videos are recorded in is 16:9. Its popularity is purely because it allows for videos to be recorded in the highest possible resolution. And that’s why it’s a standard on most popular video streaming platforms.

While 16:9 is the most popular, it’s not necessarily the best for your specific requirement. For example, if you’re making a short film and you want to give your audience an immersive, cinematic feel, then you may want to consider going ’65 and wide’ in filmmaker terms or simply record in an aspect ratio of 2.35:1.

Traditionally, however, filmmakers used the aspect ratio 4:3, which is also referred to as the Academy format (1.375:1). This was the standard for most of the films that were made before 1950s. On digital, filmmakers today use what’s called the anamorphic format, having an aspect ratio of 21:9 (or 2.33:1).

Most of you reading this will however create videos for consumption over social media. If that is your purpose, we recommend the standard for HDTV i.e. 16:9 (or 1.78:1) aspect ratio. You can use this for pre-recorded and edited videos that you may wish to upload, or even if you choose to live stream.

While aspect ratio is the ratio of width and height of a video, its resolution is the total number of pixels displayed on screen. Higher the resolution, higher is the quality of the video or sharper is the video.

While these are two different concepts, they are interrelated. You’ll see below how different resolutions the same aspect ratio have since their width and height is changing while remaining constant in proportion to each other.

The most common one could possibly be 16:9 (standard widescreen) since all computers, televisions, mobile devices, and video players can play videos of this aspect ratio. It’s also the video aspect ratio that smartphones, tablets, DSLRs, and most camcorders record in, by default.

A movie on a cinema screen is probably 16:9, while a lot of documentary films would feature footage in varying aspect ratios – 1:1, 16:9, 4:3, 9:16, or even the anamorphic format (2.33:1).

Pro-tip: It is best to create videos in the suggested aspect ratio of each platform like 4:3 or 1:1 for Instagram’s feed and 16:9 for YouTube videos. You can select the correct aspect ratio on InVideo’sonline editorand you’ll find templates best suited to your needs. Plus, you can change the aspect ratio of these templates with just a click of a button and the intuitive editor will take care of placing the elements in tandem with the selected size.

The standard aspect ratio for YouTube is 16:9. This means that no matter what aspect ratio you record your video in, the YouTube video player will automatically change it to 16:9.

So, while 16:9 is ideal, you may choose to still record your video in other formats, like square (1:1), 4:3, or even in vertical format (9:16). To fit your video (of differing aspect ratios) on different devices, the YouTube video player may automatically add the default white padding (grey, when the Dark theme is enabled).

It’s recommended to not manually add padding to your videos, since it may interfere with YouTube’s ability to adjust the player to your video and to the viewing device’s aspect ratios. If you do not want padding in your video and if you want your video to fit perfectly in the YouTube video player, it’s recommended to record your video in 16:9 aspect ratio, that is, in one of these dimensions:

The most common aspect ratio one would find on Instagram is its classic 1:1. This is also an optimal format for phone screens. However, content creators do use more formats on the platform. Since content on Instagram is consumed on the phone, it helps to know the most popular video aspect ratios for mobile:

The ratios are taken care of in the native uploader, however, you can also consider the aspect ratios mentioned above, if you plan to record and upload a video, instead of using the native uploader.

Surely, you’ve observed that 16:9 aspect ratio has been the standard on Facebook for the longest time. However, Facebook’s mobile app users – at almost 3 billion as of early 2021 – gives you a good idea of how videos on Facebook too are being heavily consumed on mobile. So why not use square or portrait formats to capture mobile users?

While it is ideal to record in the desired video aspect ratio, you can also change the aspect ratio of a video after it has been filmed. Whatever you choose to do, do ensure that your video is of the right aspect ratio for the platform and format, as some platforms will auto crop your video to fit their aspect ratio.

Now, you could have a presence on one or more social media platforms. And chances are that you want to repurpose one video in various ways, on different platforms. For example, you may want to repurpose a horizontal Facebook video on an Instagram story. How are you going to do it? By simply changing the aspect ratio to tailor-make your video for each platform, apart from trimming the video’s duration, if you want to create a shorter video that is.

You can purchase and install video editing software, or you can simply use the InVideo online video editing tool. Now there are two ways to change the video aspect ratio:

Add black bars around your video. For example, if you’re changing your aspect ratio from a 16:9 (Facebook video) to a 9:16 (Instagram story), you will need to add black bars above and below the video.

Step 1:Log in to reach the dashboard and start with ‘Blank Canvas’. Once selected, choose your aspect ratio – this will be your destination aspect ratio. Since you’re looking to create a video for Insta story, this will be 9:16.

You can simply crop your video to the desired aspect ratio. Do note that cropping could mean having to cut out important parts in a frame. So, choose carefully which part of the frame are the most important to you, so you can crop out the rest.

1080p usually refers to 1080p HD widescreen which is of resolution 1920 x 1080 px, and has an aspect ratio of 16:9. However, the 1080 indicates 1080 horizontal pixels. So 1080p could also have an aspect ratio of:

16:9 is typically considered most optimal since it works well on most devices and is capable of high resolution. However, the ideal aspect ratio will depend on where you want your video to play.