Çerçeve oranı: Revizyonlar arasındaki fark
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1. satır:
{| style="float:right;border:1px solid #CCC; background:#F9F9F9; margin-left:1em; margin-top:0.5em;"
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| '''Bazı yaygın çerçeve oranları'''
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| <div style="border:1px solid #000;height:100px;width:133px;background-color:cyan;">1.33:1 (4:3)<br>Geleneksel televizyon ve bilgisayar ekranı standardı</div>
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| <div style="border:1px solid #000;height:97px;width:137px;background-color:grey;">1.41:1 <br>[[Lichtenberg oranı]] √2:1 ~1.4142:1, [[ISO 216]] kağıt boyutları ([[A4 kağıdı|A4]])</div>
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| <div style="border:1px solid #000;height:94px;width:141px;background-color:lime;">1.5:1 (3:2)<br>Klasik [[35 mm film]]</div>
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| <div style="border:1px solid #000;height:91px;width:146px;background-color:yellow;">1.6:1 (8:5)<br>([[Credit card]]s are 85.6 × 54 mm which is ~1.59:1)
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| <div style="border:1px solid #000;height:91px;width:147px;background-color:gold;">1.618:1<br>[[Altın oran]]</div>
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| <div style="border:1px solid #000;height:89px;width:149px;background-color:orange;">1.6{{overline|6}}:1 (5:3)<br>Yaygın bir Avrupa geniş ekran standardı; doğal [[Super 16 mm]] film.</div>
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| <div style="border:1px solid #000;height:86px;width:154px;background-color:red;">1.77:1 veya 1.78:1 (16:9)<br>Yüksek çözünürlüklü video standardı</div>
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| <div style="border:1px solid #000;height:85px;width:157px;background-color:violet;">1.85:1<br>Yaygın bir [[Geniş ekran#Film|ABD geniş ekran sinema standardı]]</div>
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| <div style="border:1px solid #000;height:75px;width:178px;background-color:#99f;">2.39:1 veya 2.40:1<br>Mevcut bir [[Anamorfik format|geniş ekran sinema standardı]]</div>
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Bir resmin '''çerçeve oranı''' eni ve boyu arasındaki oransal ilişkiyi tarif eder.
Çoğunlukla aralarında iki nokta bulunan iki numara şeklinde ifade edilir; örneğin, ''16:9''. Bir ''a'':''b'' çerçeve oranı için, görüntünün ne kadar büyük veya küçük olduğunun önemi yoktur
no matter how big or small the image is, if the width is divided into ''x'' units of equal length and the height is measured using this same length unit, the height will be measured to be ''y'' units. For example, consider a group of images, all with an aspect ratio of 16:9. One image is 16 inches wide and 9 inches high. Another image is 16 centimeters wide and 9 centimeters high. A third is 8 yards wide and 4.5 yards high.
Sinema salonlarındaki filmlerin sunuşunda, günümüzde kullanılan en yaygın çerçeve oranı '''1.85:1''' ve '''2.39:1'''{{'}}dir.<ref name="anamorphic">2.39:1 oranı çoğunlukla 2.40:1 olarak etiketlenir; örneğin, [[Amerikan Görüntü Yönetmenleri Cemiyeti]]'nin ''Amerikan Görüntü Yönetmeni El Kitabı''{{'}}nda (Many widescreen films before the 1970 [[Society of Motion Picture and Television Engineers|SMPTE]] revision used 2.35:1).</ref> Yaygın iki [[videografi|videografik]] çerçeve oranı; 20. yüzyılın evrensel video formatı olan '''[[4:3]]''' (1.3{{overline|3}}:1) ile [[yüksek çözünürlüklü televizyon]] ve Avrupa [[dijital televizyon]]u için evrensel olan '''[[16:9]]'''{{'}}dir (1.7{{overline|7}}:1). Başka sinema ve video çerçeve oranları da vardır, fakat seyrek olarak kullanılır.
In [[still camera]] photography, the most common aspect ratios are '''4:3''', '''3:2''', and more recently being found in consumer cameras '''16:9'''.<ref>{{Cite document | url = http://www.techtree.com/India/News/Panasonic_Introduces_2_New_Cameras/551-97953-893.html | title = Panasonic Introduces 2 New Cameras | publisher = Tech Tree | location = India | postscript = <!--None-->}}</ref> Other aspect ratios, such as '''5:3''', '''5:4''', and '''1:1''' (square format), are used in photography as well, particularly in [[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 ([[digital zoom|zooming]] and [[cropping]]), by adding horizontal mattes ([[letterbox]]ing) or vertical mattes ([[pillarbox]]ing) 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'').
== Practical limitations ==
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 Kennedy Dickson|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{{overline|3}}:1.<ref name="asc">{{Cite book | last = Burum | first = Steped | year = 2004 | title = American Cinematographer Manual | edition = 9th | publisher = ASC Press | isbn = 0-935578-24-2 | postscript = <!--None-->}}</ref> A 4:3 ratio mimics human eyesight visual angle of 155°h x 120°v, that is 4:3.075, almost exactly the same.
With a space designated for the standard [[sound-on-film|optical soundtrack]], and the frame size reduced to maintain an image that is wider than tall, this resulted in the [[Academy of Motion Picture Arts and Sciences|Academy]] aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.37:1 aspect ratio.
== Cinema terminology ==
The [[motion picture industry]] convention assigns a value of 1.0 to the image’s height; thus, an [[anamorphic]] frame (actually 2.39:1) is described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). In American cinemas, the common projection ratios are 1.85:1 and 2.40:1. Some European countries have 1.6{{overline|6}}:1 as the wide screen standard. The "Academy ratio" of 1.37:1 was used for all cinema films until 1953 (with the release of [[George Stevens]]'s ''[[Shane (film)|Shane]]'' in 1.6{{overline|6}}:1). During that time, television, which had a similar aspect ratio of 1.3{{overline|3}}:1, became a threat to movie audiences, Hollywood gave birth to a large number of wide-screen formats: [[CinemaScope]] (up to 2.6{{overline|6}}:1), [[Todd-AO]] (2.20:1), and [[VistaVision]] (initially 1.50:1, now 1.6{{overline|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.
=== Movie camera systems ===
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. However, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard 4-perforation [[35 mm film]]) to show in the 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 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 4-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was later adapted to 70 mm film by [[IMAX]].)
[[16 mm film|Super 16 mm film]] is 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.
== Güncel video standartları ==
=== 4:3 standardı ===
'''4:3''' (1.3{{overline|3}}:1) (genellikle ''"Dörde Üç"'' olarak okunan) for standard television has been in use since the invention of [[movie camera|moving picture camera]]s and many [[computer monitor]]s used to employ the same aspect ratio. 4:3 was the aspect ratio used for [[35 mm film]]s in the silent era. It is also very close to the 1.375:1 aspect 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). When [[movie theater|cinema]] attendance dropped, Hollywood created [[widescreen]] aspect ratios (such as the 1.85:1 ratio mentioned earlier) in order to differentiate the film industry from TV. However since the start of the 21st century broadcasters worldwide are phasing out the 4:3 standard entirely, as technology started to favour the 16:9/16:10 aspect ratio of all modern HD TV sets, computer monitors as well as broadcast cameras.
=== 16:9 standardı ===
{{Ana|16:9}}
'''16:9''' (1.7{{overline|7}}:1) (genellikle ''"On Altıya Dokuz"'' olarak adlandırılan) is the international standard format of [[Yüksek çözünürlüklü televizyon|HDTV]], standart dijital [[televizyon]] ve analog geniş ekran televizyon [[PALplus]]. Japan's [[Multiple sub-Nyquist sampling encoding|Hi-Vision]] originally started with a 5:3 ratio but converted when the international standards group introduced a wider ratio of 5⅓ to 3 (=16:9). 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-Video#Frame_size_and_frame_rate|DVD]] standard. DVD producers can also choose to show even wider ratios such as 1.85:1 and 2.39:1<ref name="anamorphic" /> within the 16:9 DVD frame by [[Matte_(filmmaking)#Mattes_and_widescreen_filming|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 ''[[Man of La Mancha (film)|Man of La Mancha]]'', fit quite comfortably onto a 1.7{{overline|7}}:1 HDTV screen and have been issued anamorphically enhanced on DVD without the black bars.
== Obtaining height, width and area of the screen ==
Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (''h''), width (''l'' for ''length'') and area (''A''), where ''r'' stands for ratio and ''d'' for diagonal length.
<math>h=\frac{d}{\sqrt{(r^2+1)}} \qquad l=\frac{d}{\sqrt{\frac{1}{r^2}+1}} \qquad A=\frac{d^2}{r+\frac{1}{r}}</math>
== Distinctions ==
{{Further|Pixel aspect ratio}}
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 image]]s, there is a distinction with the '''{{visible anchor|storage aspect ratio}}''' (SAR), which is the ratio of [[pixel dimensions]]. If an image is displayed with [[square pixel]]s, then these ratios agree; if not, then non-square, "rectangular" pixels are used, and these ratios disagree. 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:
:SAR × PAR = DAR.
Rearranging (solving for PAR) yields:
:PAR = DAR/SAR.
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 (Sony)|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 [[Pixel_aspect_ratio#Analog-to-digital_conversion|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 mode]]s, 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.
== Visual comparisons ==
Comparing two different aspect ratios poses some subtleties – when comparing two aspect ratios, one may compare images with equal height, equal width, equal diagonal, or equal area. More amorphous questions include whether particular subject matter has a natural aspect ratio (panoramas being wide, full-length images of people being tall), or whether a particular ratio is more or less aesthetically pleasing – the [[golden ratio]] (~1.618) is seen as especially pleasing. Of common display formats, [[16:10]] (8/5) is the closest to the golden ratio, and 15:9 is the closest film format.
Given the same diagonal, the 4:3 screen offers more (over 12%) area, because it is closer to square (which maximizes area given a diagonal). For CRT-based technology, an aspect ratio that is closer to square is cheaper to manufacture. The same is true for projectors, and other optical devices such as cameras, camcorders, etc. For LCD and Plasma displays, however, the cost is more related to the area, so producing wider and shorter screens yields the same advertised diagonal but lower area, and hence is more profitable.
The following compares crops of a given image at 4:3 and 16:9, with different parameters equal; note that in terms of ''subject,'' the squarer aspect ratio emphasizes the public square, while the wider aspect ratio emphasizes the wide building.
* Two aspect ratios compared with images using the same diagonal size:
{|
| [[Dosya:Aspect ratio 4 3 example.jpg|thumbnail|center|284px|4:3 (1.3{{overline|3}}:1)]]
| [[Dosya:Aspect ratio 16 9 example3.jpg|thumbnail|center|310px|16:9 (1.7{{overline|7}}:1)]]
|}
* Two aspect ratios compared with images using the same area (number of pixels):
{|
| [[File:Aspect ratio 4 3 example4.jpg|thumbnail|center|283px|4:3 (1.3{{overline|3}}:1)]]
| [[File:Aspect ratio 16 9 example4.jpg|thumbnail|center|327px|16:9 (1.7{{overline|7}}:1)]]
|}
* Two aspect ratios compared with images using the same height (vertical size):
{|
| [[File:Aspect ratio 4 3 example.jpg|thumbnail|center|284px|4:3 (1.3{{overline|3}}:1)]]
| [[File:Aspect ratio 16 9 example.jpg|thumbnail|center|380px|16:9 (1.7{{overline|7}}:1)]]
|}
* Two aspect ratios compared with images using the same width (horizontal size):
{|
| [[File:Aspect ratio 4 3 example.jpg|thumbnail|center|284px|4:3 (1.3{{overline|3}}:1)]]
| [[File:Aspect ratio 16 9 example2.jpg|thumbnail|center|284px|16:9 (1.7{{overline|7}}:1)]]
|}
== Previous and currently used aspect ratios ==
:''See [[list of common resolutions]] for a listing of computer resolutions and aspect ratios.''
:''See [[list of film formats]] for a full listing of film formats, including their aspect ratios.''
[[File:Filmaspectratios svg.svg|thumb|300px|Comparison of several film aspect ratios with the heights forced to be equal.]]
* 1.19:1: Sometimes referred to as the [[Movietone sound system|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{{overline|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 1.37 mask. Examples of films shot in the Movietone ratio include [[Sunrise (film)|Sunrise]], [[M (1931 film)|M]] and [[Hallelujah! (1929 film)|Hallelujah!]].<ref>Scott Eyman, ''The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930'', New York, Simon & Schuster (1997), p. 222.</ref>
* 1.3{{overline|3}}:1 (4:3, 12:9): 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 16 mm and [[Super 35]]mm ratio.
* 1.37:1: 35 mm full-screen sound film image, nearly universal in movies between 1932 and 1953. Officially adopted as the [[Academy ratio]] in 1932 by [[AMPAS]]. Rarely used in theatrical context nowadays, but occasionally used for other context.
* 1.44:1: [[IMAX]] format. Imax productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each image.
* 1.50:1 (3:2, 15:10): The aspect ratio of 35 mm film used for still photography when 8 perforations are exposed. Also the native aspect ratio of [[VistaVision]], for which the film runs horizontally.
* 1.5{{overline|5}}:1 (14:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 (12:9) and 16:9. When converted to a 16:9 frame, there is slight [[pillarbox]]ing, while conversion to 4:3 creates slight [[letterbox]]ing. All widescreen content on [[ABC Family]]'s SD feed is presented in this ratio.
* 1.60:1 (8:5, 16:10): Widescreen computer monitor ratio (for instance 1920×1200 resolution).
* 1.6{{overline|6}}:1 (5:3, 15:9): 35 mm Originally a flat ratio invented by [[Paramount Pictures]], now a standard among several European countries; native Super 16 mm frame ratio. Sometimes this ratio is rounded up to 1.67:1. From the late 1980s to the early 2000s, [[Walt Disney Feature Animation]]'s [[Computer Animation Production System|CAPS program]] animated their features in the 1.66:1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.33:1 ratio used for home video), this format is also used on the [[Nintendo 3DS]]'s top screen as well.
* 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-50's Full Screen films to this ratio for DVD, including ''[[The Jungle Book (1967 film)|The Jungle Book]]''.
* 1.7{{overline|7}}:1 (16:9 = 4<sup>2</sup>:3<sup>2</sup>): 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 up to 1.78:1.
* 1.85:1: 35 mm US and UK widescreen standard for theatrical film. Introduced by [[Universal Pictures]] in May, 1953. Projects approximately 3 [[film perforations|perforations]] ("perfs") of image space per 4 perf frame; films can be shot in [[Negative pulldown|3-perf]] to save cost of film stock.
* 2.00:1: Original [[SuperScope]] ratio, also used in [[Univisium]]. Used as a flat ratio for some American studios in the 1950s, abandoned in the 1960s, but recently popularized by the [[Red Digital Cinema Camera Company|Red One]] camera system. In 2001 [[Studio Ghibli]] used this framing for its animated film [[Spirited Away]].
* 2.10:1 (21:10): Planned futuristic aspect ratio for television and theatrical films.
* 2.20:1 (11:5, 22:10): 70 mm standard. Originally developed for [[Todd-AO]] in the 1950s. Specified in [[MPEG-2]] as 2.21:1, but hardly used.
* 2.35:1: 35 mm anamorphic prior to 1970, used by [[CinemaScope]] ("'Scope") and early [[Panavision]]. The anamorphic standard has subtly changed so that modern anamorphic productions are actually 2.39,<ref name="anamorphic" /> but often referred to as 2.35 anyway, due to old convention.'' (Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard [[Negative pulldown|4-perf]] [[Academy of Motion Picture Arts and Sciences|Academy]] aperture, but presents the widest of aspect ratios.)'' All Indian [[Bollywood]] films released after 1972 are shot in this standard for theatrical exhibition.
* 2.37:1 (64:27 = 4<sup>3</sup>:3<sup>3</sup>): As of 2010, TVs have been introduced with this aspect ratio and are marketed as "21:9 cinema displays", the first of which was the [[Philips Cinema 21:9 TV]]. This aspect ratio is not recognized by storage and transmission standards.
* 2.39:1 (~12:5): 35 mm anamorphic from 1970 onwards. Aspect ratio of current anamorphic (wide-screen) theatrical viewings. Often commercially branded as [[Panavision]] format or [[CinemaScope|'Scope]]. Specified as 2.40:1 for [[Blu-ray Disc]] film releases (1920×800 resolution).
* 2.55:1 (~23:9): Original aspect ratio of [[CinemaScope]] before optical sound was added to the film in 1954. This was also the aspect ratio of [[CinemaScope 55]].
* 2.59:1 (~13:5): [[Cinerama]] at full height (three specially captured 35 mm images projected side-by-side into one composite widescreen image).
* 2.6{{overline|6}}:1 (8:3, 24:9): 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.
* 2.76:1 (~11:4): [[Ultra Panavision 70]] (65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1962 and 1966, such as the ''[[Battle of the Bulge (film)|Battle of the Bulge (1965)]]''.
* 2.93:1: [[Ultra Panavision 70|MGM Camera 65]], an early version of [[Ultra Panavision]] used up until 1962 which used a 1.33× anamorphic squeeze instead to produce a wider aspect ratio. Used only on a few early Ultra Panavision films, most notably ''[[Ben-Hur (1959 film)|Ben-Hur (1959)]]'' and also for some sequences of ''[[How the West Was Won (film)|How The West was Won]]'' with a slight crop to 2.89:1 when converted to three strip [[Cinerama]].
* 4.00:1: Rare use of [[Polyvision]], three 35 mm 1.3{{overline|3}}:1 images projected side by side. First used in 1927 on [[Abel Gance]]'s ''[[Napoléon (1927 film)|Napoléon]]''.
* 12.00:1: [[Circle-Vision 360°]] developed by the [[Walt Disney Company]] in 1955 for use in [[Disneyland]]. Uses nine 4:3 35mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications.
==Aspect ratio releases==
===Original aspect ratio (OAR)===
'''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 ''[[Gladiator (2000 film)|Gladiator]]'' was released to theaters in the 2.39:1 aspect ratio. It was filmed in [[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 (filmmaking)|matte]] altering the aspect ratio to the television standard of 1.3{{overline|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 (MAR)===
'''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{{overline|3}}:1 (historically), or (with the advent of widescreen television sets) 1.7{{overline|7}}:1 aspect ratio. 1.3{{overline|3}}:1 is the modified aspect ratio used historically in VHS format. A modified aspect ratio transfer is achieved by means of [[pan and scan]] or [[open matte]], the latter meaning removing the cinematic matte from a 1.85:1 film to open up the full 1.3{{overline|3}}:1 frame. Another name for it is "prescaled" aspect ratio".
==Problems in film and television==
[[File:Windowboxed.jpg|thumb|right|375px|A [[windowbox (film)|windowboxed]] image]]
Multiple aspect ratios create additional burdens on filmmakers and consumers, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format ([[cropping (image)|cropped]], [[letterbox]]ed or expanded beyond the original aspect ratio). It is also not uncommon for [[windowbox (film)|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 ([[windowbox (film)|windowboxing]] or the [[Matchboxing#Pillarboxing and gutterboxing|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 [[letterbox|pillar boxing]] 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.
== Still photography ==
Common aspect ratios in [[still photography]] include:
* 1:1
* 4:3 (1.3{{overline|3}}:1)
* 3:2 (1.5:1)
* 5:3 (1.6{{overline|6}}:1)
* 16:9 (1.7{{overline|7}}:1)
* 3:1
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.
===1:1===
is the classic square image, and is available as a choice in some digital still cameras, and harkens back to the days of film cameras when the square image was somewhat popular with photographers using medium format cameras shooting [[120 film]] rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today.
===4:3===
is used by most digital [[point-and-shoot camera]]s, [[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.
The next several formats have their roots in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format [[Advanced Photo System]] ([[Advanced Photo System|APS]]) film camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).
===3:2===
is used by classic [[135 film|35 mm film]] cameras using a 24 mm × 36 mm image size, and their digital derivatives represented by [[DSLR]]s. Typical DSLRs come in two flavors, the so-called professional "full frame" (24 mm × 36 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as
the [[Advanced Photo System|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.
When discussing DSLR's and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers [[Canon (company)|Canon]] and [[Nikon]] each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls [[DX]]. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor.
The reason for DSLR 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.
=== 16:9 ===
16:9 is another format that has its roots in the APS film camera. 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 ([[high-definition video|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 ===
3:1 is 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 of 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 [[Photo print sizes|print sizes]] in the [[United States|U.S.]] (in [[inch]]es) 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 (film)|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. 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.
== See also ==
* [[Active Format Description]] (AFD)
* [[Anamorphic widescreen]]
* [[Display aspect ratio]]
* [[Full frame]]
* [[Letterbox]]
* [[List of common resolutions]]
* [[List of film formats]]
* [[List of motion picture terminology]]
* [[Pan and scan]]
* [[Paper size]]
* [[Shoot and protect]]
* [[Widescreen]]
* [[Widescreen display modes]]
==References==
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* {{cite web |url=http://www.necdisplay.com/support/css/monitortechguide/index05.htm |title=NEC Monitor Technology Guide |accessdate=2006-07-24 |archiveurl = http://web.archive.org/web/20060521000427/http://www.necdisplay.com/support/css/monitortechguide/index05.htm |archivedate = 2006-05-21}}
{{Refend}}
==External links==
{{commons category|Aspect Ratio}}
* [http://www.widescreen.org/ The Letterbox and Widescreen Advocacy Page]
* [http://www.widescreenmuseum.com/index.htm American Widescreen Museum]
* [http://www.widescreenmuseum.com/widescreen/apertures.htm Widescreen Apertures and Aspect Ratios]
* [http://aspect.fre3.com Aspect – combined aspect ratio, frame size and bitrate calculator]
* [http://reviews.cnet.com/4520-7608_7-1016109-4.html#calculator Calculator to Determine Size of 4:3 Image on 16:9 Screen] (middle of the page) {{Dead link|date=January 2011}}
* Aspect Ratios Explained: [http://www.dvdactive.com/editorial/articles/aspect-ratios-explained-part-one.html Part 1] [http://www.dvdactive.com/editorial/articles/aspect-ratios-explained-part-two.html Part 2]
* [http://bitbucket.co.uk/work/aspect_ratios.html Explanation of TV Aspect Ratio format description codes]
* [http://www.equasys.de/aspectratio.html Display aspect ratio and pixel aspect ratio used in TV and video applications.]
* [http://web.archive.org/web/20090624175845/http://www.imdb.com/Sections/DVDs/AspectRatios/ Number of DVDs for each aspect ratio] {{Dead link|date=January 2011}}
* {{PDFlink|[http://www.cinemasource.com/articles/aspect_ratios.pdf TECHNICAL BULLETIN Understanding Aspect Ratios]|708 KB}}
* [http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:31993D0424:EN:HTML SCADplus: 16:9 Action plan for the television in the 16:9 screen format – European Union]
* [http://www.itjungles.com/javascript/image-screen-aspect-ratio-calculator Online Aspect Ratio Calculator]
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[[Category:Ratios]]
[[Category:Film and video technology]]
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