Previous and currently used aspect ratios

1.15

1: Sometimes referred to as the Movietone ratio, this arrangement was acclimated briefly during the capricious aeon if the blur industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate 1.33 breach in printing, consistent in an about aboveboard image. Films attempt in this arrangement are generally projected or transferred to video afield application a 1.37 mask. Examples of films attempt in the Movietone arrangement cover Sunrise, M and Hallelujah!.4

1.33

1 (4:3, 12:9): 35 mm aboriginal bashful blur ratio, today frequently accepted in TV and video as 4:3. Aswell accepted arrangement for MPEG-2 video compression. This architecture is still acclimated in abounding claimed video cameras today and has afflicted the alternative or architecture of added aspect ratios. It is the accepted 16 mm and Super 35mm ratio.

1.37

1: 35 mm full-screen complete blur image, about accepted in movies amid 1932 and 1953. Officially adopted as the Academy arrangement in 1932 by AMPAS. Rarely acclimated in affected ambience nowadays, but occasionally acclimated for added context.

1.44

1: IMAX format. Imax productions use 70 mm advanced blur (the aforementioned as acclimated for 70 mm affection films), but the blur runs through the camera and projector horizontally. This allows for a physically beyond breadth for anniversary image.

1.50

1 (3:2, 15:10): The aspect arrangement of 35 mm blur acclimated for still photography if 8 perforations are exposed. Aswell the built-in aspect arrangement of VistaVision, for which the blur runs horizontally.

1.55

1 (14:9): Widescreen aspect arrangement sometimes acclimated in cutting commercials etc. as a accommodation architecture amid 4:3 (12:9) and 16:9. If adapted to a 16:9 frame, there is slight pillarboxing, while about-face to 4:3 creates slight letterboxing.

1.60

1 (8:5, 16:10): Widescreen computer adviser arrangement (for instance 1920×1200 resolution).

1.66

1 (5:3, 15:9): 35 mm Originally a collapsed arrangement invented by Paramount Pictures, now a accepted a part of several European countries; built-in Super 16 mm anatomy ratio. Sometimes this arrangement is angled up to 1.67:1. From the backward 1980s to the aboriginal 2000s, Walt Disney Affection Animation's CAPS affairs activated their appearance in the 1.66:1 arrangement (a accommodation amid the 1.85:1 affected arrangement and the 1.33:1 arrangement acclimated for home video), this architecture is aswell acclimated on the Nintendo 3DS's top awning as well.

1.75

1 (7:4): Aboriginal 35 mm widescreen ratio, primarily acclimated by MGM and Warner Bros. amid 1953 and 1955, and back abandoned, admitting Disney has circumscribed some of its post-50's Abounding Awning films to this arrangement for DVD, including The Jungle Book.

1.77

1 (16:9 = 42:32): Video widescreen standard, acclimated in high-definition television, one of three ratios defined for MPEG-2 video compression. Aswell acclimated more in claimed video cameras. Sometimes this arrangement is angled up to 1.78:1.

1.85

1: 35 mm US and UK widescreen accepted for affected film. Alien by Accepted Pictures in May, 1953. Projects about 3 perforations ("perfs") of angel amplitude per 4 perf frame; films can be attempt in 3-perf to save amount of blur stock.

2.00

1: Aboriginal SuperScope ratio, aswell acclimated in Univisium. Acclimated as a collapsed arrangement for some American studios in the 1950s, alone in the 1960s, but afresh affected by the Red One camera system. In 2001 Studio Ghibli acclimated this framing for its activated blur Spirited Away.

2.10

1 (21:10): Planned affected aspect arrangement for television and affected films.

2.20

1 (11:5, 22:10): 70 mm standard. Originally developed for Todd-AO in the 1950s. Defined in MPEG-2 as 2.21:1, but hardly used.

2.35

1: 35 mm anamorphic above-mentioned to 1970, acclimated by CinemaScope ("'Scope") and aboriginal Panavision. The anamorphic accepted has cautiously afflicted so that avant-garde anamorphic productions are in fact 2.39,1 but generally referred to as 2.35 anyway, due to old convention. (Note that anamorphic refers to the compression of the angel on blur to aerate an breadth hardly taller than accepted 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films appear afterwards 1972 are attempt in this accepted for affected exhibition.

2.37

1 (64:27 = 43:33): As of 2010, TVs accept been alien with this aspect arrangement and are marketed as "21:9 cinema displays". This aspect arrangement is not accustomed by accumulator and manual standards.

2.39

1 (~12:5): 35 mm anamorphic from 1970 onwards. Aspect arrangement of accepted anamorphic (wide-screen) affected viewings. Generally commercially branded as Panavision architecture or 'Scope. Defined as 2.40:1 for Blu-ray Disc blur releases (1920×800 resolution).

2.55

1 (~23:9): Aboriginal aspect arrangement of CinemaScope afore optical complete was added to the blur in 1954. This was aswell the aspect arrangement of CinemaScope 55.

2.59

1 (~13:5): Cinerama at abounding acme (three distinctively captured 35 mm images projected side-by-side into one blended widescreen image).

2.66

1 (8:3, 24:9): Abounding anatomy achievement from Super 16 mm abrogating if an anamorphic lens arrangement has been used. Effectively, an angel that is of the arrangement 24:9 is squashed assimilate the built-in 15:9 aspect arrangement of a Super 16 mm negative.

2.76

1 (~11:4): Ultra Panavision 70 (65 mm with 1.25× anamorphic squeeze). Acclimated alone on a scattering of films amid 1962 and 1966, such as the Battle of the Bulge (1965).

2.93

1: MGM Camera 65, an aboriginal adaptation of Ultra Panavision acclimated up until 1962 which acclimated a 1.33× anamorphic clasp instead to aftermath a added aspect ratio. Acclimated alone on a few aboriginal Ultra Panavision films, a lot of conspicuously Ben-Hur (1959) and aswell for some sequences of How The West was Won with a slight crop to 2.89:1 if adapted to three band Cinerama.

4.00

1: Rare use of Polyvision, three 35 mm 1.33:1 images projected ancillary by side. First acclimated in 1927 on Abel Gance's 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 appearance an angel that absolutely surrounds the viewer. Acclimated in consecutive Disney affair parks and added accomplished applications.