What Is ASPECT RATIO and When Should You Use It? a Guide for Video Editors and Motion Designers
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Square Vs Non-Square Pixels
Square vs non-square pixels Adapted from: Flash + After Effects By Chris Jackson Square vs non square pixels can cause problems when exporting flash for TV and video if you get it wrong. Here Chris Jackson explains how best to avoid these mistakes... Before you adjust the Stage width and height, you need to be aware of the pixel aspect ratio. This refers to the width and height of each pixel that makes up an image. Computer screens display square pixels. Every pixel has an aspect ratio of 1:1. Video uses non-square rectangular pixels, actually scan lines. To make matters even more complicated, the pixel aspect ratio is not consistent between video formats. NTSC video uses a non-square pixel that is taller than it is wide. It has a pixel aspect ratio of 1:0.906. PAL is just the opposite. Its pixels are wider than they are tall with a pixel aspect ratio of 1:1.06. Figure 1: The pixel aspect ratio can produce undesirable image distortion if you do not compensate for the difference between square and non-square pixels. Flash only works in square pixels on your computer screen. As the Flash file migrates to video, the pixel aspect ratio changes from square to non-square. The end result will produce a slightly stretched image on your television screen. On NTSC, round objects will appear flattened. PAL stretches objects making them appear skinny. The solution is to adjust the dimensions of the Flash Stage. A common Flash Stage size used for NTSC video is 720 x 540 which is slightly taller than its video size of 720 x 486 (D1). -
The Electricimage™ Reference
Book Page 1 Friday, July 21, 2000 4:18 PM The ElectricImage™ Reference A guide to the ElectricImage™ Animation System Version 2.0 Book Page 2 Friday, July 21, 2000 4:18 PM © 1989, 1990, 1991, 1992, 1993, 1994 Electric Image, Inc. All Rights Reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Electric Image. The software described in this manual is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice and should not be construed as a commitment by Electric Image. Electric Image assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Electric Image recommends that you observe the rights of the original artist or publisher of the images you scan or acquire in the use of texture maps, reflection maps, bump maps, backgrounds or any other usage. If you plan to use a previously published image, contact the artist or publisher for information on obtaining permission. ElectricImage, Pixel Perfect Rendering and Animation, Mr. Fractal, and Mr. Font are trademarks of Electric Image. Macintosh and Apple are registered trademarks of Apple Computer, Incorporated. Other brand names and product names are trademarks or registered trademarks of their respective companies. This document written and designed by Stephen Halperin at: Electric Image, Inc. 117 East Colorado Boulevard Suite 300 Pasadena, California 91105 Cover image by Jay Roth. -
4. Reconfigurations of Screen Borders: the New Or Not-So-New Aspect Ratios
4. Reconfigurations of Screen Borders: The New or Not-So-New Aspect Ratios Miriam Ross Abstract The ubiquity of mobile phone cameras has resulted in many videos foregoing the traditional horizontal (landscape) frame in favour of a vertical (portrait) mode. While vertical framing is often derided as amateur practice, these new framing techniques are part of a wider contemporary screen culture in which filmmakers and artists are using unconventional aspect ratios and/or expanding and contracting aspect ratios over the course of their audio-visual work. This chapter briefly outlines historical contexts in which the border of the screen has been more flexible and open to changing configurations than is widely acknowledged. It then uses recent case studies to consider how our understanding of on-screen and off-screen space is determined by these framing configurations. Keywords: Aspect ratios, embodiment, framing, cinema In recent years, the increasing ubiquity of mobile phone videos has drawn attention to a radical challenge to traditional screen culture. It is not just that a wide variety of amateur users now have a filmmaking device at their fingertips—rather, that many of them are foregoing the more than a century- long norm for shooting with a horizontal frame. Appearing on social media sites such as YouTube, Facebook, and Twitter as well as in commercial news broadcasts, their footage stands tall in a vertical format. When replayed on horizontal screens, the startling strangeness of wide black bands on either side of the content focuses attention on the border of the frame as well as seem- ingly absent screen space. -
IMAX Technician Robert Kilburn Uses Aspect Ratios to Make Sure Audiences Enjoy the Movie
THE Scenes from upcoming IMAX releases Star Trek and (below) Monsters vs. Aliens f you've ever seen a movie in an IMAX theater—with a huge screen and excellent sound and picture—you know how realistic it can be. You might have even felt like you were inside the movie. It takes many people to make sure that the film looks the way it's supposed to. One of those people is Robert kilburn, the manager of system installations at IMAX. His job is to IMAX technician supervise the installation of IMAX screens and projection Robert Kilburn and sound systems. Kilburn's favorite films to uses aspect work on might also be your favorites to watch. "I like the ratios to make visually spectacular films that take you places you sure audiences wouldn't normally be able to go, from the deepest depths enjoy the movie. of our oceans to the magical Continued on next page world of Harry Potter," Kilburn OA modem flat-screen television Some IMAX theaters use the told MATH. "The Harry Potter M(LCD or plasma) could have a 416:9 aspect ratio. If the height of films are my favorites." width of 64 inches and a height of an image at this ratio is 51.3 feet... In order to make sure the 36 inches, a. what proportion could you picture looks perfect on an a. To find the aspect ratio for write to find the width? IMAX screen, Kilburn uses flat-screen TVs, write those aspect ratios. A ratio compares dimensions as a ratio in two different numbers of the simplest form: same unit. -
Prores 2K in Editorial
ProRes 2K in Editorial WHITE PAPER Date: 6 December 2012 Table of Contents 1. Introduction ................................................................................................................... 3 1.1 ALEXA Capture Aspect Ratios ........................................................................... 3 1.2 Typical Delivery Aspect Ratios ........................................................................... 3 1.3 Sample Footage ................................................................................................. 6 1.4 Framing Charts ................................................................................................... 7 2. Apple Compressor ........................................................................................................ 8 Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 8 Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 8 Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 8 3. Blackmagic Design DaVinci Resolve .......................................................................... 9 Re-format 2K 16:9 to 1.85:1 US Widescreen DCP (cropped) .................................. 9 Re-format 2K 16:9 (flat) to 2.39 Widescreen ............................................................ 9 Re-format 2K 4:3 anamorphic to 2.39 Widescreen .................................................. 9 4. Avid Media Composer 6 ............................................................................................ -
Aspect Ratio
Aspect Ratio In questo articolo descriveremo l’Aspect Ratio, quali sono le caratteristiche e il suo legame con i vari formati video e cinematografici. Cercheremo di spiegare l’importanza di questo parametro, le origini storiche e implicazioni legate alle moderne tecnologie. Ci sofermeremo anche a descrivere come evitare errori di interpretazione e come simularlo nell’ambito video SD ed HD. Un po’ di teoria L'Aspect Ratio (letteralmente “rapporto d’aspetto”) è semplicemente un metodo numerico per descrivere una forma rettangolare. Indica in pratica il rapporto tra la base e l’altezza del rettangolo che rappresenta il quadro ove risiedono le immagini. E’ un numero puro e può essere espresso o in forma frazionaria o in quella di semplice numero con decimali. Ad esempio parlando del formato widescreen dei moderni televisori al plasma e LCD, l’Aspect Ratio può essere espresso come 16:9, che significa: per ogni 16 unità di base ve ne sono 9 di altezza. Oppure può essere espresso come 1.78 il quale non è altro che la divisione di 16 per 9. In realtà, come è possibile verificare, 16 diviso 9 da come risultato 1.777... (in matematica si dice “7 periodico”), quello di porre 16:9 = 1.78 è una semplice approssimazione alla seconda cifra decimale, cosa che ritroveremo anche in altri casi. L’utilizzo pratico di questo parametro è molto semplice. Ammettiamo di avere un’immagine proveniente da una fotocamera e doverla convertire o quantomeno ritagliare con proporzioni 16:9 e poi 4:3 e che le sue dimensioni originarie siano 3000x2000 pixel. -
Digital Image Prep for Displays
Digital Image Prep for Displays Jim Roselli ISF-C, ISF-R, HAA Tonight's Agenda • A Few Basics • Aspect Ratios • LCD Display Technologies • Image Reviews Light Basics We view the world in 3 colors Red, Green and Blue We are Trichromatic beings We are more sensitive to Luminance than to Color Our eyes contain: • Light 4.5 million cones (color receptors) 90 million rods (lumen receptors) Analog vs. Digital Light Sample • Digitize the Photon Light Sample Light Sample DSLR’s Canon 5D mkII and Nikon D3x 14 bits per color channel (16,384) Color channels (R,G & B) • Digital Capture Digital Backs Phase One 16 bits per channel (65,536) Color channels (R,G & B) Square Pixels Big pixels have less noise … Spatial Resolution Round spot vs. Square pixel • Size Matters Square Pixels • What is this a picture of ? Aspect Ratio Using Excel’s “Greatest Common Divisor” function • The ratio of the width to =GCD(x,y) xRatio = (x/GCD) the height of the image yRatio = (y/GCD) on a display screen Early Television • How do I calculate this ? Aspect Ratio 4 x 3 Aspect Ratio • SAR - Storage Aspect Ratio • DAR – Display Aspect Ratio • PAR – Pixel Aspect Ratio Aspect Ratio Device Width(x) Heigth(y) GCD xRa5o yRa5o Display 4096 2160 16 256 135 Display 1920 1080 120 16 9 • Examples Display 1280 720 80 16 9 Display 1024 768 256 4 3 Display 640 480 160 4 3 Aspect Ratio Device Width(x) Heigth(y) GCD xRa5o yRa5o Nikon D3x 6048 4032 2016 3 2 • Examples Canon 5d mkII 4368 2912 1456 3 2 Aspect Ratio Device Width(x) Heigth(y) GCD xRa5o yRa5o iPhone 1 480 320 160 3 2 HTC Inspire 800 480 160 5 3 • Examples Samsung InFuse 800 480 160 5 3 iPhone 4 960 640 320 3 2 iPad III 2048 1536 512 4 3 Motorola Xoom Tablet 1280 800 160 8 5 Future Aspect Ratio Device Width(x) Heigth(y) GCD xRa5o yRa5o Display 2048 1536 512 4 3 Display 3840 2160 240 16 9 Display 7680 4320 480 16 9 Aspect Ratio 4K Format Aspect Ratio • Don’t be scared … Pan D3x Frame . -
Pixel Aspect Ratio, Part 1 Fitting Rectangular Pixels Into Square Holes
Tips N Tricks More available at artbeats.com Pixel Aspect Ratio, Part 1 Fitting rectangular pixels into square holes. by Chris & Trish Meyer, Crish Design One of the more annoying idiosyncrasies of digital video is that im- To compensate, these pixels need to be displayed on a television ages often look distorted on a computer monitor: they’re either too screen 10% thinner than normal to compensate (in other words, wide or too skinny, especially when working with widescreen foot- roughly 90% as wide as they are tall). This is referred to as a PAR of - age. This can lead to a crisis in confidence – often late at night, usu- 0.90, indicating how much the image has to be scaled horizontally ally on deadline – as to whether you can trust your eyes, or if you are to look correct upon playback. As long as you keep the image away doing the right thing. In this article, we will help explain the tricky from a computer and just display it on a video monitor, you’ll never subject of pixel aspect ratio or “PAR” for short, including PARs for see this internal accounting. Alas, as soon as you look at one of these common video formats. In our next article, we will discuss strate- images on a square pixel computer monitor, the images will look a gies for mixing non-video assets such as photographs and scans with touch wide. your digital video, including how not to make a client’s logo – or the clients themselves – look too fat or too thin. -
Paper Sizes Teacher Notes Activity Description
Paper sizes Teacher notes Activity description Pupils investigate paper sizes in the A and B international series. They can explore the relationships within each series and between the series. If pupils access information on paper sizes on the web, the focus of their work will need to be on interpreting and explaining their research. Suitability Pupils working at all levels; individuals or pairs Time 1 to 2 hours AMP resources Pupil stimulus Equipment 1 sheet of each of A3, A4, A5, B5 and B6 paper, labelled appropriately. Rulers Key mathematical language Dimension, length, width, area, measurement, centimetre, millimetre, double, half, ratio, proportion, scaling, surd, series, similar, congruent, upper bound, lower bound Key processes Representing Identifying the mathematics involved in the task and developing appropriate representations. Analysing Working systematically; identifying patterns; beginning to make generalisations. Interpreting and evaluating Considering the findings to form convincing arguments. Communicating and reflecting Explaining the approach taken and the outcomes achieved at each stage of the work. Nuffield Applying Mathematical Processes (AMP) Investigation ‘Paper sizes’ Teacher notes page 1 of 9 Supported by the Clothworkers’ Foundation © Nuffield Foundation 2010 Teacher guidance Pupils may have relevant prior knowledge, so the activity should start with a class discussion of paper sizes. Which ones are pupils familiar with? What are they used for, and why? If printing templates to create any of the sheets, please take care that the paper sizes print accurately. Consider the following starter: provide paper sizes A3 to A6 inclusive and ask pupils to write what size they think it is. Choose some of the probing questions to display around the room to prompt discussion. -
Image-Based Aspect Ratio Selection
Image-Based Aspect Ratio Selection Yunhai Wang, Zeyu Wang, Chi-Wing Fu, Hansjorg¨ Schmauder, Oliver Deussen and Daniel Weiskopf Fig. 1. Influence of aspect ratio a on the perception of trends and cluster separability for the Sunspot dataset [21] (a, b, c) and the Contraceptive Method Choice (CMC) dataset [10] (d, e). (a) Line chart with the default aspect ratio, and (b) the aspect ratio selected by an existing method (RV) [40], where both methods obscure the trends over the cycles. (c) The aspect ratio selected by our method (imgRV), where detailed cycle oscillations are revealed. (d) Scatter plot of three data clusters with the default aspect ratio, where the visual separation between the two clusters on the left is unclear. (e) The aspect ratio selected by our method shows clearer cluster structures. Abstract—Selecting a good aspect ratio is crucial for effective 2D diagrams. There are several aspect ratio selection methods for function plots and line charts, but only few can handle general, discrete diagrams such as 2D scatter plots. However, these methods either lack a perceptual foundation or heavily rely on intermediate isoline representations, which depend on choosing the right isovalues and are time-consuming to compute. This paper introduces a general image-based approach for selecting aspect ratios for a wide variety of 2D diagrams, ranging from scatter plots and density function plots to line charts. Our approach is derived from Federer’s co-area formula and a line integral representation that enable us to directly construct image-based versions of existing selection methods using density fields. -
All About Anamorphic
Jon Fauer, ASC www.fdtimes.com May 2015 Special Report All About Anamorphic A Review of Film and Digital Times Articles since 2007 about Anamorphic Widescreen Contents Anamorphic Ahead ..........................................................................3 Art, Technique and Technology Anamorphic 2x and 1.3x ..................................................................4 2x or 1.3x Squeeze ..........................................................................4 Film and Digital Times is the guide to technique and 2.35, 2.39, or 2.40 ..........................................................................4 technology, tools and how-tos for Cinematographers, Contempt ........................................................................................5 Photographers, Directors, Producers, Studio Executives, Contempt ........................................................................................6 2-Perf Aaton Penelope .....................................................................6 Camera Assistants, Camera Operators, Grips, Gaffers, Focal Length (spherical or anamorphic) .............................................7 Crews, Rental Houses, and Manufacturers. The Math of 4:3 and 16:9 Anamorphic Cinematography .....................9 It’s written, edited, and published by Jon Fauer, ASC, an 4:3..................................................................................................9 16:9................................................................................................9 award-winning Cinematographer -
Unit 3 This Publication Forms Part of an Open University Module
MU123 Discovering mathematics Unit 3 This publication forms part of an Open University module. Details of this and other Open University modules can be obtained from the Student Registration and Enquiry Service, The Open University, PO Box 197, Milton Keynes MK7 6BJ, United Kingdom (tel. +44 (0)845 300 60 90; email [email protected]). Alternatively, you may visit the Open University website at www.open.ac.uk where you can learn more about the wide range of modules and packs offered at all levels by The Open University. To purchase a selection of Open University materials visit www.ouw.co.uk, or contact Open University Worldwide, Walton Hall, Milton Keynes MK7 6AA, United Kingdom for a brochure (tel. +44 (0)1908 858779; fax +44 (0)1908 858787; email [email protected]). The Open University, Walton Hall, Milton Keynes MK7 6AA. First published 2010. Copyright c 2010 The Open University All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted or utilised in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from the publisher or a licence from the Copyright Licensing Agency Ltd. Details of such licences (for reprographic reproduction) may be obtained from the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS (website www.cla.co.uk). Open University materials may also be made available in electronic formats for use by students of the University. All rights, including copyright and related rights and database rights, in electronic materials and their contents are owned by or licensed to The Open University, or otherwise used by The Open University as permitted by applicable law.