Sony Toshiba Panasonic Container Format ALL Sample Aspect Ratio - aspect_ratio_idc 1:1, 10:11, 40:33, 4:3, (sar_width, sar_height - if necessary) plus 12:11, 16:11 for 50Hz Picture Aspect Ratio - Container 4:3, 16:9 Picture Aspect Ratio - Active Resolution 720x480, 1280x720, 1920x1080, plus 720x576 for 50Hz Overscan / Cropping Optional for devices to crop L+R to 704 with overscan flag in AVC elementary stream

Black Padding Send coordinates of active picture [using private data stream as previously proposed] (SHANE to provide footnote based on Salli proposal) Horizontal Sub-sampling No

Quantization range[2] 16-235, 0-253 legal range as defined in Rec 601 and 709

Color space [3] Req 601 for PD, SD, Req 709 for HD 50 hertz or not? Optional for Europe etc Frame rates 29.97, 23.976 plus 25 for 50Hz Progressive / interlace Both Recommended practice topics Interlaced temporal sub-sampling, filtering

Gamma curve, render intent, display adaptation

[1] e.g. NTSC, PAL, anamorphic, sq, … [2] e.g. 16-235, 0-255, +/-128, … [3] e.g. Rec 601, 709; negative coefficients Microsoft Example

ALL HD 1:1, 10:11, 40:33, 4:3

Encoded frame 4:3 , 16:9 1.33, 1.78, 1.85, 2.35 PD 320x240, 416x240, SD 640x480, 720x480 NTSC, 864x480, HD 1280x720, 1440x1080, 1920x1080 AVC cropping parameters specified in stream and ISO Track size equals decoder output size e.g. 1080 or 704, not 1088 or 720 encoded size OK, but encode AVC cropping parameters of actual picture area

Yes, e.g. 720x480 16:9 NTSC 1440x1080 16:9 16-235, 0-253 visible range, not clipped, as defined in Rec 601 and 709 Req 601 for PD, SD; Req 709 for HD, negative RGB DecodeOK required, publication 14.99,regional 23.976, 25, 29.97, 50, Both59.94

Optimized for progressive display, default AVC 4:2:0 subsample locations Encoded with studio monitor gamma. Display correction applied by device (e.g. 2.4 for computer or hand held, 1.5 for home theater)

Notes to Discuss: • [MS] Attempting to pre-correct for limited devices at encoding (e.g. vertical resolution filtering to prevent “CRT flicker”, encoding letterbox bars, encoded pulldown, etc.) usually compromises high end devices (progressive displays, 120Hz, motion interpolation, automatic PAR adaptation, etc.) • [MS] Might recommend safe areas based on device cropping to 4:3 • [MS] Clarification of “exact scan” pixel dimensions to avoid unnecessary scaling (e.g. 704 or 720 = 4:3? = 16:9 anamorphic?) Display intent must be specified explicitly using correct SAR in h.264 • [SPE] Proposes a new MP4 box for optional frame crop. • Crop box parameters shall be constant through an entire track • Crop box must exist in every sync sample for random access. • Luma crop parameters must be a multiple of 2 to compensate for 4:2:0 subsampling of chroma pixels. • Top and Bottom luma crop parameters are limited to a multiple of 4 to compensate for field based presentations in 4:2:0. • Composition objects such as subtitles require positioning methods to coordinate with frame cropping. This is not included in the scope of this box and must be defined elsewhere. • [MS] Vertical coding size can be any number of lines up to defined maximum number. • [MS] Some of current internet streaming distributed contents are encoded with respect to aspect ratio of the source video. • PC software platforms are capable of handling as it is done today • CE platforms may not be capable of handling flexible sized videoformat • Limited guaranteed video format supported in LSI • Increase in testing –can not guarantee every combination • [SPE] Define active video window in MP4 file format as DECE unique user data • [SPE] Contents are encoded with embedded black lines as done today (for non-internet streaming contents) • [SPE] PC software uses MP4 file format to crop the embedded black lines as post process before displaying the contents. • [SPE] CE platform displays/outputs with black lines –may optionally crop the black lines. [MS] Attempting to pre-correct for limited devices at encoding (e.g. vertical resolution filtering to prevent “CRT flicker”, encoding letterbox bars, encoded pulldown, etc.) usually compromises high end devices (progressive displays, 120Hz, motion interpolation, automatic PAR adaptation, etc.)

[MS] Clarification of “exact scan” pixel dimensions to avoid unnecessary scaling (e.g. 704 or 720 = 4:3? = 16:9 anamorphic?) Display intent must be specified explicitly using correct SAR in h.264

Luma crop parameters must be a multiple of 2 to compensate for 4:2:0 subsampling of chroma pixels. Top and Bottom luma crop parameters are limited to a multiple of 4 to compensate for field based presentations in 4:2:0. Composition objects such as subtitles require positioning methods to coordinate with frame cropping. This is not included in the scope of this box and must be defined elsewhere. [MS] Vertical coding size can be any number of lines up to defined maximum number. [MS] Some of current internet streaming distributed contents are encoded with respect to aspect ratio of the source video.

[SPE] Contents are encoded with embedded black lines as done today (for non-internet streaming contents) [SPE] PC software uses MP4 file format to crop the embedded black lines as post process before displaying the contents. [SPE] CE platform displays/outputs with black lines –may optionally crop the black lines. [MS] Attempting to pre-correct for limited devices at encoding (e.g. vertical resolution filtering to prevent “CRT flicker”, encoding letterbox bars, encoded pulldown, etc.) usually compromises high end devices (progressive displays, 120Hz, motion interpolation, automatic PAR adaptation, etc.)

[MS] Clarification of “exact scan” pixel dimensions to avoid unnecessary scaling (e.g. 704 or 720 = 4:3? = 16:9 anamorphic?) Display intent must be specified explicitly using correct SAR in h.264

Composition objects such as subtitles require positioning methods to coordinate with frame cropping. This is not included in the scope of this box and must be defined elsewhere. [MS] Attempting to pre-correct for limited devices at encoding (e.g. vertical resolution filtering to prevent “CRT flicker”, encoding letterbox bars, encoded pulldown, etc.) usually compromises high end devices (progressive displays, 120Hz, motion interpolation, automatic PAR adaptation, etc.) Sample Pixel Aspect Ratio Pixel aspect ratio (often abbreviated PAR) is a mathematical ratio that describes how the width of pixels in a digital image compares to their height. Most digital imaging systems describe an image as a grid of very small but nonetheless square pixels. However, some imaging systems, especially those which must maintain compatibility with Standard-definition television motion pictures, define an image as a grid of rectangular pixels in which the width of the pixel is slightly different from that of its height. Pixel Aspect Ratio describes this difference. Use of Pixel Aspect Ratio mostly involves pictures pertaining to standard-definition television and some other exceptional cases. Most other imaging systems, including those which comply with SMPTE standards and practices, use square pixels. Pixel aspect ratios of common video formats Pixel Aspect Ratio values for common standard-definition video formats are listed below. Note that for each video format, three different types of Pixel Aspect Ratio values are listed: Rec.601, a Rec.601-compliant value, which is considered the real Pixel Aspect Ratio of standard-definition video of that type. (Read Explanation) Digital, which is roughly equivalent to Rec.601 and is more suitable to use in Digital Video Editing software. (Read Explanation)

Picture Pixel Aspect Ratio Video Dimension Pixel Aspect Ratio (Decimal) System s Rec.601 Digital Rec.601 Digital Standard (4:3) PAL 720×576 (e.g. 576i) 704×576 59:54:00 12:11

Widescreen (16:9)352×288 PAL 118:81 16:11 Standard (4:3) NTSC 720×480 (e.g. 480i) 704×480 10:11

Widescreen (16:9)352×240 NTSC 40:33:00

Picture Aspect Ratio - Active Picture

TV - 1.33 (4:3), 1.78 (16:9) Movies – 1.33 (4:3), 1.85, 2.35, 2.40

Common aspect ratios: 1.33 (4:3 TV), 1.78 (16:9 TV), 1.85 2.0, 2.33, 2.4(film), 16:9 anamorphic 708x483 SMPTE D1 display aperture 704x480 ATSC 4:3? 720x480 DVD 4:3?

The aspect ratio of an image is its width divided by its height. Aspect ratios are mathematically expressed as x :y (pronounced "x-to-y") and x×y (pronounced "x-by-y"). The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1[1]. Two common videographic aspect ratios are 4:3 (1.33:1), universal for standard-definition video formats, and 16:9 (1.78:1), universal to high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras, previously only commonly seen in professional cameras, 16:9[2][3]. Other aspect ratios, such as 5:4, 6:7, and 1:1 (square format), are used in photography as well. Converting formats of unequal ratios is done by either cropping the original image to the receiving format's aspect ratio (zooming), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, or by distorting the image to fill the receiving format's ratio. Cinematographic aspect ratios are usually denoted as a decimal fraction width to unit height, while videographic aspect ratios are usually denoted by ratios of whole numbers.

Resolution The display resolution of a digital television or display typically refers to the number of distinct pixels in each dimension that can be displayed. It can be an ambiguous term especially as the displayed resolution is controlled by all different factors in cathode ray tube (CRT) and flat panel or projection displays using fixed picture-element (pixel) arrays. Televisions are of the following resolutions: SDTV: 480i (NTSC, 720×480 split into two 240-line fields) SDTV: 576i (PAL, 720×576 split into two 288-line fields) EDTV: 480p (NTSC, 720×480) EDTV: 576p (PAL, 720×576) HDTV: 720p (1280×720) HDTV: 1080i (1280×1080, 1440×1080, or 1920×1080 split into two 540-line fields) HDTV: 1080p (1920×1080 progressive scan) Computers have higher resolutions. Currently, 1024×768 is regarded as an acceptable default. As of July, 2002, 1024×768 Extended Graphics Array was the most common display resolution.[1][2] Many web sites and multimedia products were re- designed from the previous 800×600 format to the higher 1024×768-optimized layout. The validity of this method of gathering statistics is diminishing, however, as LCD monitors have only one native display resolution - the highest available on that particular monitor. When users select a lower resolution, the lower resolution is reported to the statistics gathering website. This is useful if you want to know what resolution the user is seeing (which most web designers want to know), but it does not tell you the highest resolution the monitor is capable of displaying. Nevertheless, the actual number of pixels in front of the user has not changed. Instead, interpolation in the monitor causes the picture to become fuzzy as it attempts to display an image of the wrong resolution by scaling it. The availability of inexpensive LCD monitors has made the 5:4 aspect ratio resolution of 1280×1024 more popular for desktop usage. Many computer users including CAD users, graphic artists and video game players run their computers at 1600×1200 resolution (UXGA, Ultra-eXtended) or higher if they have the necessary equipment. Other recently available resolutions include oversize aspects like 1400×1050 SXGA+ and wide aspects like 1280×720 WXGA, 1680×1050 WSXGA+, and 1920×1200 WUXGA. A new HD resolution of 2560×1600 WQXGA has been released mainly in 30" LCD monitors. Special monitors for medical diagnostic work are using 3280×2048 WQSXGA, which is the current maximum resolution available in a single monitor. The most common computer display resolutions are as follows:[ Overscan Overscan is extra image area around the four edges of a video image that is not normally seen by the viewer. It exists because television sets in the 1930s through 1970s were highly variable in how the video image was framed within the cathode ray tube (CRT). Early televisions varied in their displayable area because of manufacturing tolerance problems. There were also effects from the early design limitations of linear power supplies, whose DC voltage was not regulated as well as in later switching-type power supplies. This would cause the image to shrink when AC power 'browned out', as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas:[1]

Title safe: An area visible by all reasonably maintained sets, where text was certain not to be cut off. Action safe: A larger area that represented where a "perfect" set (with high precision to allow less overscanning) would cut the image off. Overscan: The full image area to the electronic edge of the signal.

A significant number of people would still see some of the Overscan area, so while nothing important to a scene could be placed there, it also had to be kept free of microphones, stage hands, and other distractions. Studio monitors and camera viewfinders can be set to show this area, so that producers and directors can make certain it is clear. When activated, this mode is called underscan.[2]

Analog to digital resolution issues 720 vs. 702 or 704 PAL - 702 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (702 can be either). NTSC - 704 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (704 can be either).

625 / 525 or 576 / 480 In broadcasting, analogue systems count the lines not used for the visible picture, whereas the digital systems only bother to encode (and compress) content that may contain something to see. The 625 (PAL) and 525 (NTSC) line areas therefore contain even more to overscan, which can be seen when vertical hold is lost and the picture rolls.[citation needed] A large part of the vertical overscan available in analogue only, known as the vertical blanking interval, can be used for older forms of analogue datacasting such as Teletext services (like Ceefex and subtitling in the UK). The equivalent service on Digital television does not employ overscan and instead often uses MHEG.[citation needed] Horizontally, the difference between 702/704 and 720 is referred to as nominal analogue blanking.

480 vs 486 The 525-line system originally contained 486 lines of picture, not 480. Digital foundations to most storage and transmission systems since the early 1990s have meant that analogue NTSC has only been expected to have 480 lines of picture.[citation needed] How this affects the interpretation of "the 4:3 ratio" as equal to 704x480 or 704x486 is unclear, but the VGA standard of 640x480 has had a large impact.[citation needed]

CRT legacy. New model 1:1 sample to pixel (but reality usually involves scaling). Need to explicitly state SAR in video. “Hypothetical reference display”.

Black Padding

Horizontal Subsampling 4:2:0, 4:1:1, 1440h, etc. Sample aspect ratio is changed from the norm. See anamorphic Squeeze, subsample the horizontal to match aspect ratio of non-square pixels. Quantization range e.g. 16-235, 0-255, +/-128 Color space Rec 601, 709; negative coefficients 50 Hz Professional conversion tools exist but results are just okay Input by SPE Consider building a progressive frame, then output converted interlace frame Standardizing on 24p and 60i for as line standards allows content to be used globally on modern equipment (external displays) Input by Microsoft Restrict 50Hz Contents Allow 50Hz Content and devices in 50Hz Regions (Both Contents & Devices Regionally optional) Allow 50Hz Content Worldwide with a Warning (Contents Regionally optional, Devices mandatory) Playback of 25i content on 60Hz interfaces/displays Gamma curve, render intent, display adaptation

Frame rates 15.00p, 23.97p, 25.00i, 29.97i/p, 50.00p, 59.97i/p (1000/1001 video rates) Any frame rate is OK on a self contained device with decoupled refresh or multisync; but NTSC, PAL, HDMI, etc. video connections have limited frame rate options. Typically, STB can output 24Hz to new displays, or 30i to old (3:2 pulldown) Typically STB can output 24Hz with 3:2 or +4% to 50/60 Hz displays; problem is 25i content to 60Hz only displays. Devices can insert pulldown Setup, color space, 3:2 pulldown, deinterlace, crop, p/s, letterbox, pillarbox, tiltscan, cylindrical stretch Output signal limitations: e.g. 1280x720 may require 1366x720, etc. connection to allow “Overscan” cropping and 1:1 sample to pixel mapping (without scaling and filtering) Progressive or Interlacing

Interlaced temporal sub-sampling, filtering Gamma curve, render intent, display adaptation

Picture Aspect Ratio - Active Picture

TV - 1.33 (4:3), 1.78 (16:9) Movies – 1.33 (4:3), 1.85, 2.35, 2.40

Common aspect ratios: 1.33 (4:3 TV), 1.78 (16:9 TV), 1.85 2.0, 2.33, 2.4(film), 16:9 anamorphic 708x483 SMPTE D1 display aperture 704x480 ATSC 4:3? 720x480 DVD 4:3?

The aspect ratio of an image is its width divided by its height. Aspect ratios are mathematically expressed as x :y (pronounced "x-to-y") and x×y (pronounced "x-by-y"). The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1[1]. Two common videographic aspect ratios are 4:3 (1.33:1), universal for standard-definition video formats, and 16:9 (1.78:1), universal to high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras, previously only commonly seen in professional cameras, 16:9[2][3]. Other aspect ratios, such as 5:4, 6:7, and 1:1 (square format), are used in photography as well. Converting formats of unequal ratios is done by either cropping the original image to the receiving format's aspect ratio (zooming), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, or by distorting the image to fill the receiving format's ratio. Cinematographic aspect ratios are usually denoted as a decimal fraction width to unit height, while videographic aspect ratios are usually denoted by ratios of whole numbers.

Resolution The display resolution of a digital television or display typically refers to the number of distinct pixels in each dimension that can be displayed. It can be an ambiguous term especially as the displayed resolution is controlled by all different factors in cathode ray tube (CRT) and flat panel or projection displays using fixed picture-element (pixel) arrays. Televisions are of the following resolutions: SDTV: 480i (NTSC, 720×480 split into two 240-line fields) SDTV: 576i (PAL, 720×576 split into two 288-line fields) EDTV: 480p (NTSC, 720×480) EDTV: 576p (PAL, 720×576) HDTV: 720p (1280×720) HDTV: 1080i (1280×1080, 1440×1080, or 1920×1080 split into two 540-line fields) HDTV: 1080p (1920×1080 progressive scan) Computers have higher resolutions. Currently, 1024×768 is regarded as an acceptable default. As of July, 2002, 1024×768 Extended Graphics Array was the most common display resolution.[1][2] Many web sites and multimedia products were re- designed from the previous 800×600 format to the higher 1024×768-optimized layout. The validity of this method of gathering statistics is diminishing, however, as LCD monitors have only one native display resolution - the highest available on that particular monitor. When users select a lower resolution, the lower resolution is reported to the statistics gathering website. This is useful if you want to know what resolution the user is seeing (which most web designers want to know), but it does not tell you the highest resolution the monitor is capable of displaying. Nevertheless, the actual number of pixels in front of the user has not changed. Instead, interpolation in the monitor causes the picture to become fuzzy as it attempts to display an image of the wrong resolution by scaling it. The availability of inexpensive LCD monitors has made the 5:4 aspect ratio resolution of 1280×1024 more popular for desktop usage. Many computer users including CAD users, graphic artists and video game players run their computers at 1600×1200 resolution (UXGA, Ultra-eXtended) or higher if they have the necessary equipment. Other recently available resolutions include oversize aspects like 1400×1050 SXGA+ and wide aspects like 1280×720 WXGA, 1680×1050 WSXGA+, and 1920×1200 WUXGA. A new HD resolution of 2560×1600 WQXGA has been released mainly in 30" LCD monitors. Special monitors for medical diagnostic work are using 3280×2048 WQSXGA, which is the current maximum resolution available in a single monitor. The most common computer display resolutions are as follows:[ Overscan Overscan is extra image area around the four edges of a video image that is not normally seen by the viewer. It exists because television sets in the 1930s through 1970s were highly variable in how the video image was framed within the cathode ray tube (CRT). Early televisions varied in their displayable area because of manufacturing tolerance problems. There were also effects from the early design limitations of linear power supplies, whose DC voltage was not regulated as well as in later switching-type power supplies. This would cause the image to shrink when AC power 'browned out', as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas:[1]

Title safe: An area visible by all reasonably maintained sets, where text was certain not to be cut off. Action safe: A larger area that represented where a "perfect" set (with high precision to allow less overscanning) would cut the image off. Overscan: The full image area to the electronic edge of the signal.

A significant number of people would still see some of the Overscan area, so while nothing important to a scene could be placed there, it also had to be kept free of microphones, stage hands, and other distractions. Studio monitors and camera viewfinders can be set to show this area, so that producers and directors can make certain it is clear. When activated, this mode is called underscan.[2]

Analog to digital resolution issues 720 vs. 702 or 704 PAL - 702 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (702 can be either). NTSC - 704 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (704 can be either).

625 / 525 or 576 / 480 In broadcasting, analogue systems count the lines not used for the visible picture, whereas the digital systems only bother to encode (and compress) content that may contain something to see. The 625 (PAL) and 525 (NTSC) line areas therefore contain even more to overscan, which can be seen when vertical hold is lost and the picture rolls.[citation needed] A large part of the vertical overscan available in analogue only, known as the vertical blanking interval, can be used for older forms of analogue datacasting such as Teletext services (like Ceefex and subtitling in the UK). The equivalent service on Digital television does not employ overscan and instead often uses MHEG.[citation needed] Horizontally, the difference between 702/704 and 720 is referred to as nominal analogue blanking.

480 vs 486 The 525-line system originally contained 486 lines of picture, not 480. Digital foundations to most storage and transmission systems since the early 1990s have meant that analogue NTSC has only been expected to have 480 lines of picture.[citation needed] How this affects the interpretation of "the 4:3 ratio" as equal to 704x480 or 704x486 is unclear, but the VGA standard of 640x480 has had a large impact.[citation needed]

CRT legacy. New model 1:1 sample to pixel (but reality usually involves scaling). Need to explicitly state SAR in video. “Hypothetical reference display”.

Black Padding

Horizontal Subsampling 4:2:0, 4:1:1, 1440h, etc. Sample aspect ratio is changed from the norm. See anamorphic Squeeze, subsample the horizontal to match aspect ratio of non-square pixels. Quantization range e.g. 16-235, 0-255, +/-128

Color space Rec 601, 709; negative coefficients 50 Hz Professional conversion tools exist but results are just okay Input by SPE Consider building a progressive frame, then output converted interlace frame Standardizing on 24p and 60i for as line standards allows content to be used globally on modern equipment (external displays) Input by Microsoft Restrict 50Hz Contents Allow 50Hz Content and devices in 50Hz Regions (Both Contents & Devices Regionally optional) Allow 50Hz Content Worldwide with a Warning (Contents Regionally optional, Devices mandatory) Playback of 25i content on 60Hz interfaces/displays Gamma curve, render intent, display adaptation

Frame rates 15.00p, 23.97p, 25.00i, 29.97i/p, 50.00p, 59.97i/p (1000/1001 video rates) Any frame rate is OK on a self contained device with decoupled refresh or multisync; but NTSC, PAL, HDMI, etc. video connections have limited frame rate options. Typically, STB can output 24Hz to new displays, or 30i to old (3:2 pulldown) Typically STB can output 24Hz with 3:2 or +4% to 50/60 Hz displays; problem is 25i content to 60Hz only displays. Devices can insert pulldown Setup, color space, 3:2 pulldown, deinterlace, crop, p/s, letterbox, pillarbox, tiltscan, cylindrical stretch Output signal limitations: e.g. 1280x720 may require 1366x720, etc. connection to allow “Overscan” cropping and 1:1 sample to pixel mapping (without scaling and filtering) Progressive or Interlacing

Interlaced temporal sub-sampling, filtering Gamma curve, render intent, display adaptation

Picture Aspect Ratio - Active Picture

TV - 1.33 (4:3), 1.78 (16:9) Movies – 1.33 (4:3), 1.85, 2.35, 2.40

Common aspect ratios: 1.33 (4:3 TV), 1.78 (16:9 TV), 1.85 2.0, 2.33, 2.4(film), 16:9 anamorphic 708x483 SMPTE D1 display aperture 704x480 ATSC 4:3? 720x480 DVD 4:3?

The aspect ratio of an image is its width divided by its height. Aspect ratios are mathematically expressed as x :y (pronounced "x-to-y") and x×y (pronounced "x-by-y"). The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1[1]. Two common videographic aspect ratios are 4:3 (1.33:1), universal for standard-definition video formats, and 16:9 (1.78:1), universal to high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras, previously only commonly seen in professional cameras, 16:9[2][3]. Other aspect ratios, such as 5:4, 6:7, and 1:1 (square format), are used in photography as well. Converting formats of unequal ratios is done by either cropping the original image to the receiving format's aspect ratio (zooming), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, or by distorting the image to fill the receiving format's ratio. Cinematographic aspect ratios are usually denoted as a decimal fraction width to unit height, while videographic aspect ratios are usually denoted by ratios of whole numbers.

Resolution The display resolution of a digital television or display typically refers to the number of distinct pixels in each dimension that can be displayed. It can be an ambiguous term especially as the displayed resolution is controlled by all different factors in cathode ray tube (CRT) and flat panel or projection displays using fixed picture-element (pixel) arrays. Televisions are of the following resolutions: SDTV: 480i (NTSC, 720×480 split into two 240-line fields) SDTV: 576i (PAL, 720×576 split into two 288-line fields) EDTV: 480p (NTSC, 720×480) EDTV: 576p (PAL, 720×576) HDTV: 720p (1280×720) HDTV: 1080i (1280×1080, 1440×1080, or 1920×1080 split into two 540-line fields) HDTV: 1080p (1920×1080 progressive scan) Computers have higher resolutions. Currently, 1024×768 is regarded as an acceptable default. As of July, 2002, 1024×768 Extended Graphics Array was the most common display resolution.[1][2] Many web sites and multimedia products were re- designed from the previous 800×600 format to the higher 1024×768-optimized layout. The validity of this method of gathering statistics is diminishing, however, as LCD monitors have only one native display resolution - the highest available on that particular monitor. When users select a lower resolution, the lower resolution is reported to the statistics gathering website. This is useful if you want to know what resolution the user is seeing (which most web designers want to know), but it does not tell you the highest resolution the monitor is capable of displaying. Nevertheless, the actual number of pixels in front of the user has not changed. Instead, interpolation in the monitor causes the picture to become fuzzy as it attempts to display an image of the wrong resolution by scaling it. The availability of inexpensive LCD monitors has made the 5:4 aspect ratio resolution of 1280×1024 more popular for desktop usage. Many computer users including CAD users, graphic artists and video game players run their computers at 1600×1200 resolution (UXGA, Ultra-eXtended) or higher if they have the necessary equipment. Other recently available resolutions include oversize aspects like 1400×1050 SXGA+ and wide aspects like 1280×720 WXGA, 1680×1050 WSXGA+, and 1920×1200 WUXGA. A new HD resolution of 2560×1600 WQXGA has been released mainly in 30" LCD monitors. Special monitors for medical diagnostic work are using 3280×2048 WQSXGA, which is the current maximum resolution available in a single monitor. The most common computer display resolutions are as follows:[ Overscan Overscan is extra image area around the four edges of a video image that is not normally seen by the viewer. It exists because television sets in the 1930s through 1970s were highly variable in how the video image was framed within the cathode ray tube (CRT). Early televisions varied in their displayable area because of manufacturing tolerance problems. There were also effects from the early design limitations of linear power supplies, whose DC voltage was not regulated as well as in later switching-type power supplies. This would cause the image to shrink when AC power 'browned out', as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas:[1]

Title safe: An area visible by all reasonably maintained sets, where text was certain not to be cut off. Action safe: A larger area that represented where a "perfect" set (with high precision to allow less overscanning) would cut the image off. Overscan: The full image area to the electronic edge of the signal.

A significant number of people would still see some of the Overscan area, so while nothing important to a scene could be placed there, it also had to be kept free of microphones, stage hands, and other distractions. Studio monitors and camera viewfinders can be set to show this area, so that producers and directors can make certain it is clear. When activated, this mode is called underscan.[2]

Analog to digital resolution issues 720 vs. 702 or 704 PAL - 702 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (702 can be either). NTSC - 704 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (704 can be either).

625 / 525 or 576 / 480 In broadcasting, analogue systems count the lines not used for the visible picture, whereas the digital systems only bother to encode (and compress) content that may contain something to see. The 625 (PAL) and 525 (NTSC) line areas therefore contain even more to overscan, which can be seen when vertical hold is lost and the picture rolls.[citation needed] A large part of the vertical overscan available in analogue only, known as the vertical blanking interval, can be used for older forms of analogue datacasting such as Teletext services (like Ceefex and subtitling in the UK). The equivalent service on Digital television does not employ overscan and instead often uses MHEG.[citation needed] Horizontally, the difference between 702/704 and 720 is referred to as nominal analogue blanking.

480 vs 486 The 525-line system originally contained 486 lines of picture, not 480. Digital foundations to most storage and transmission systems since the early 1990s have meant that analogue NTSC has only been expected to have 480 lines of picture.[citation needed] How this affects the interpretation of "the 4:3 ratio" as equal to 704x480 or 704x486 is unclear, but the VGA standard of 640x480 has had a large impact.[citation needed]

CRT legacy. New model 1:1 sample to pixel (but reality usually involves scaling). Need to explicitly state SAR in video. “Hypothetical reference display”.

Black Padding

Horizontal Subsampling 4:2:0, 4:1:1, 1440h, etc. Sample aspect ratio is changed from the norm. See anamorphic Squeeze, subsample the horizontal to match aspect ratio of non-square pixels. Quantization range e.g. 16-235, 0-255, +/-128

Color space Rec 601, 709; negative coefficients 50 Hz Professional conversion tools exist but results are just okay Input by SPE Consider building a progressive frame, then output converted interlace frame Standardizing on 24p and 60i for as line standards allows content to be used globally on modern equipment (external displays) Input by Microsoft Restrict 50Hz Contents Allow 50Hz Content and devices in 50Hz Regions (Both Contents & Devices Regionally optional) Allow 50Hz Content Worldwide with a Warning (Contents Regionally optional, Devices mandatory) Playback of 25i content on 60Hz interfaces/displays Gamma curve, render intent, display adaptation

Frame rates 15.00p, 23.97p, 25.00i, 29.97i/p, 50.00p, 59.97i/p (1000/1001 video rates) Any frame rate is OK on a self contained device with decoupled refresh or multisync; but NTSC, PAL, HDMI, etc. video connections have limited frame rate options. Typically, STB can output 24Hz to new displays, or 30i to old (3:2 pulldown) Typically STB can output 24Hz with 3:2 or +4% to 50/60 Hz displays; problem is 25i content to 60Hz only displays. Devices can insert pulldown Setup, color space, 3:2 pulldown, deinterlace, crop, p/s, letterbox, pillarbox, tiltscan, cylindrical stretch Output signal limitations: e.g. 1280x720 may require 1366x720, etc. connection to allow “Overscan” cropping and 1:1 sample to pixel mapping (without scaling and filtering) Progressive or Interlacing

Interlaced temporal sub-sampling, filtering Gamma curve, render intent, display adaptation

Picture Aspect Ratio - Active Picture

TV - 1.33 (4:3), 1.78 (16:9) Movies – 1.33 (4:3), 1.85, 2.35, 2.40

Common aspect ratios: 1.33 (4:3 TV), 1.78 (16:9 TV), 1.85 2.0, 2.33, 2.4(film), 16:9 anamorphic 708x483 SMPTE D1 display aperture 704x480 ATSC 4:3? 720x480 DVD 4:3?

The aspect ratio of an image is its width divided by its height. Aspect ratios are mathematically expressed as x :y (pronounced "x-to-y") and x×y (pronounced "x-by-y"). The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1[1]. Two common videographic aspect ratios are 4:3 (1.33:1), universal for standard-definition video formats, and 16:9 (1.78:1), universal to high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras, previously only commonly seen in professional cameras, 16:9[2][3]. Other aspect ratios, such as 5:4, 6:7, and 1:1 (square format), are used in photography as well. Converting formats of unequal ratios is done by either cropping the original image to the receiving format's aspect ratio (zooming), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, or by distorting the image to fill the receiving format's ratio. Cinematographic aspect ratios are usually denoted as a decimal fraction width to unit height, while videographic aspect ratios are usually denoted by ratios of whole numbers.

Resolution The display resolution of a digital television or display typically refers to the number of distinct pixels in each dimension that can be displayed. It can be an ambiguous term especially as the displayed resolution is controlled by all different factors in cathode ray tube (CRT) and flat panel or projection displays using fixed picture-element (pixel) arrays. Televisions are of the following resolutions: SDTV: 480i (NTSC, 720×480 split into two 240-line fields) SDTV: 576i (PAL, 720×576 split into two 288-line fields) EDTV: 480p (NTSC, 720×480) EDTV: 576p (PAL, 720×576) HDTV: 720p (1280×720) HDTV: 1080i (1280×1080, 1440×1080, or 1920×1080 split into two 540-line fields) HDTV: 1080p (1920×1080 progressive scan) Computers have higher resolutions. Currently, 1024×768 is regarded as an acceptable default. As of July, 2002, 1024×768 Extended Graphics Array was the most common display resolution.[1][2] Many web sites and multimedia products were re- designed from the previous 800×600 format to the higher 1024×768-optimized layout. The validity of this method of gathering statistics is diminishing, however, as LCD monitors have only one native display resolution - the highest available on that particular monitor. When users select a lower resolution, the lower resolution is reported to the statistics gathering website. This is useful if you want to know what resolution the user is seeing (which most web designers want to know), but it does not tell you the highest resolution the monitor is capable of displaying. Nevertheless, the actual number of pixels in front of the user has not changed. Instead, interpolation in the monitor causes the picture to become fuzzy as it attempts to display an image of the wrong resolution by scaling it. The availability of inexpensive LCD monitors has made the 5:4 aspect ratio resolution of 1280×1024 more popular for desktop usage. Many computer users including CAD users, graphic artists and video game players run their computers at 1600×1200 resolution (UXGA, Ultra-eXtended) or higher if they have the necessary equipment. Other recently available resolutions include oversize aspects like 1400×1050 SXGA+ and wide aspects like 1280×720 WXGA, 1680×1050 WSXGA+, and 1920×1200 WUXGA. A new HD resolution of 2560×1600 WQXGA has been released mainly in 30" LCD monitors. Special monitors for medical diagnostic work are using 3280×2048 WQSXGA, which is the current maximum resolution available in a single monitor. The most common computer display resolutions are as follows:[ Overscan Overscan is extra image area around the four edges of a video image that is not normally seen by the viewer. It exists because television sets in the 1930s through 1970s were highly variable in how the video image was framed within the cathode ray tube (CRT). Early televisions varied in their displayable area because of manufacturing tolerance problems. There were also effects from the early design limitations of linear power supplies, whose DC voltage was not regulated as well as in later switching-type power supplies. This would cause the image to shrink when AC power 'browned out', as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas:[1]

Title safe: An area visible by all reasonably maintained sets, where text was certain not to be cut off. Action safe: A larger area that represented where a "perfect" set (with high precision to allow less overscanning) would cut the image off. Overscan: The full image area to the electronic edge of the signal.

A significant number of people would still see some of the Overscan area, so while nothing important to a scene could be placed there, it also had to be kept free of microphones, stage hands, and other distractions. Studio monitors and camera viewfinders can be set to show this area, so that producers and directors can make certain it is clear. When activated, this mode is called underscan.[2]

Analog to digital resolution issues 720 vs. 702 or 704 PAL - 702 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (702 can be either). NTSC - 704 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (704 can be either).

625 / 525 or 576 / 480 In broadcasting, analogue systems count the lines not used for the visible picture, whereas the digital systems only bother to encode (and compress) content that may contain something to see. The 625 (PAL) and 525 (NTSC) line areas therefore contain even more to overscan, which can be seen when vertical hold is lost and the picture rolls.[citation needed] A large part of the vertical overscan available in analogue only, known as the vertical blanking interval, can be used for older forms of analogue datacasting such as Teletext services (like Ceefex and subtitling in the UK). The equivalent service on Digital television does not employ overscan and instead often uses MHEG.[citation needed] Horizontally, the difference between 702/704 and 720 is referred to as nominal analogue blanking.

480 vs 486 The 525-line system originally contained 486 lines of picture, not 480. Digital foundations to most storage and transmission systems since the early 1990s have meant that analogue NTSC has only been expected to have 480 lines of picture.[citation needed] How this affects the interpretation of "the 4:3 ratio" as equal to 704x480 or 704x486 is unclear, but the VGA standard of 640x480 has had a large impact.[citation needed]

CRT legacy. New model 1:1 sample to pixel (but reality usually involves scaling). Need to explicitly state SAR in video. “Hypothetical reference display”.

Black Padding

Horizontal Subsampling 4:2:0, 4:1:1, 1440h, etc. Sample aspect ratio is changed from the norm. See anamorphic Squeeze, subsample the horizontal to match aspect ratio of non-square pixels. Quantization range e.g. 16-235, 0-255, +/-128

Color space Rec 601, 709; negative coefficients 50 Hz Professional conversion tools exist but results are just okay Input by SPE Consider building a progressive frame, then output converted interlace frame Standardizing on 24p and 60i for as line standards allows content to be used globally on modern equipment (external displays) Input by Microsoft Restrict 50Hz Contents Allow 50Hz Content and devices in 50Hz Regions (Both Contents & Devices Regionally optional) Allow 50Hz Content Worldwide with a Warning (Contents Regionally optional, Devices mandatory) Playback of 25i content on 60Hz interfaces/displays Gamma curve, render intent, display adaptation

Frame rates 15.00p, 23.97p, 25.00i, 29.97i/p, 50.00p, 59.97i/p (1000/1001 video rates) Any frame rate is OK on a self contained device with decoupled refresh or multisync; but NTSC, PAL, HDMI, etc. video connections have limited frame rate options. Typically, STB can output 24Hz to new displays, or 30i to old (3:2 pulldown) Typically STB can output 24Hz with 3:2 or +4% to 50/60 Hz displays; problem is 25i content to 60Hz only displays. Devices can insert pulldown Setup, color space, 3:2 pulldown, deinterlace, crop, p/s, letterbox, pillarbox, tiltscan, cylindrical stretch Output signal limitations: e.g. 1280x720 may require 1366x720, etc. connection to allow “Overscan” cropping and 1:1 sample to pixel mapping (without scaling and filtering) Progressive or Interlacing

Interlaced temporal sub-sampling, filtering Gamma curve, render intent, display adaptation

Picture Aspect Ratio - Active Picture

TV - 1.33 (4:3), 1.78 (16:9) Movies – 1.33 (4:3), 1.85, 2.35, 2.40

Common aspect ratios: 1.33 (4:3 TV), 1.78 (16:9 TV), 1.85 2.0, 2.33, 2.4(film), 16:9 anamorphic 708x483 SMPTE D1 display aperture 704x480 ATSC 4:3? 720x480 DVD 4:3?

The aspect ratio of an image is its width divided by its height. Aspect ratios are mathematically expressed as x :y (pronounced "x-to-y") and x×y (pronounced "x-by-y"). The most common aspect ratios used today in the presentation of films in movie theaters are 1.85:1 and 2.39:1[1]. Two common videographic aspect ratios are 4:3 (1.33:1), universal for standard-definition video formats, and 16:9 (1.78:1), universal to high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently. In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently being found in consumer cameras, previously only commonly seen in professional cameras, 16:9[2][3]. Other aspect ratios, such as 5:4, 6:7, and 1:1 (square format), are used in photography as well. Converting formats of unequal ratios is done by either cropping the original image to the receiving format's aspect ratio (zooming), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, or by distorting the image to fill the receiving format's ratio. Cinematographic aspect ratios are usually denoted as a decimal fraction width to unit height, while videographic aspect ratios are usually denoted by ratios of whole numbers.

Resolution The display resolution of a digital television or display typically refers to the number of distinct pixels in each dimension that can be displayed. It can be an ambiguous term especially as the displayed resolution is controlled by all different factors in cathode ray tube (CRT) and flat panel or projection displays using fixed picture-element (pixel) arrays. Televisions are of the following resolutions: SDTV: 480i (NTSC, 720×480 split into two 240-line fields) SDTV: 576i (PAL, 720×576 split into two 288-line fields) EDTV: 480p (NTSC, 720×480) EDTV: 576p (PAL, 720×576) HDTV: 720p (1280×720) HDTV: 1080i (1280×1080, 1440×1080, or 1920×1080 split into two 540-line fields) HDTV: 1080p (1920×1080 progressive scan) Computers have higher resolutions. Currently, 1024×768 is regarded as an acceptable default. As of July, 2002, 1024×768 Extended Graphics Array was the most common display resolution.[1][2] Many web sites and multimedia products were re- designed from the previous 800×600 format to the higher 1024×768-optimized layout. The validity of this method of gathering statistics is diminishing, however, as LCD monitors have only one native display resolution - the highest available on that particular monitor. When users select a lower resolution, the lower resolution is reported to the statistics gathering website. This is useful if you want to know what resolution the user is seeing (which most web designers want to know), but it does not tell you the highest resolution the monitor is capable of displaying. Nevertheless, the actual number of pixels in front of the user has not changed. Instead, interpolation in the monitor causes the picture to become fuzzy as it attempts to display an image of the wrong resolution by scaling it. The availability of inexpensive LCD monitors has made the 5:4 aspect ratio resolution of 1280×1024 more popular for desktop usage. Many computer users including CAD users, graphic artists and video game players run their computers at 1600×1200 resolution (UXGA, Ultra-eXtended) or higher if they have the necessary equipment. Other recently available resolutions include oversize aspects like 1400×1050 SXGA+ and wide aspects like 1280×720 WXGA, 1680×1050 WSXGA+, and 1920×1200 WUXGA. A new HD resolution of 2560×1600 WQXGA has been released mainly in 30" LCD monitors. Special monitors for medical diagnostic work are using 3280×2048 WQSXGA, which is the current maximum resolution available in a single monitor. The most common computer display resolutions are as follows:[ Overscan Overscan is extra image area around the four edges of a video image that is not normally seen by the viewer. It exists because television sets in the 1930s through 1970s were highly variable in how the video image was framed within the cathode ray tube (CRT). Early televisions varied in their displayable area because of manufacturing tolerance problems. There were also effects from the early design limitations of linear power supplies, whose DC voltage was not regulated as well as in later switching-type power supplies. This would cause the image to shrink when AC power 'browned out', as well as a process called blooming, where the image size increased slightly when a brighter overall picture was displayed. Because of this, TV producers could not be certain where the visible edges of the image would be. In order to cope with this, they defined three areas:[1]

Title safe: An area visible by all reasonably maintained sets, where text was certain not to be cut off. Action safe: A larger area that represented where a "perfect" set (with high precision to allow less overscanning) would cut the image off. Overscan: The full image area to the electronic edge of the signal.

A significant number of people would still see some of the Overscan area, so while nothing important to a scene could be placed there, it also had to be kept free of microphones, stage hands, and other distractions. Studio monitors and camera viewfinders can be set to show this area, so that producers and directors can make certain it is clear. When activated, this mode is called underscan.[2]

Analog to digital resolution issues 720 vs. 702 or 704 PAL - 702 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (702 can be either). NTSC - 704 is the width of analogue, not digital; the definition of what is 4:3, and what is 16:9, derives from here (704 can be either).

625 / 525 or 576 / 480 In broadcasting, analogue systems count the lines not used for the visible picture, whereas the digital systems only bother to encode (and compress) content that may contain something to see. The 625 (PAL) and 525 (NTSC) line areas therefore contain even more to overscan, which can be seen when vertical hold is lost and the picture rolls.[citation needed] A large part of the vertical overscan available in analogue only, known as the vertical blanking interval, can be used for older forms of analogue datacasting such as Teletext services (like Ceefex and subtitling in the UK). The equivalent service on Digital television does not employ overscan and instead often uses MHEG.[citation needed] Horizontally, the difference between 702/704 and 720 is referred to as nominal analogue blanking.

480 vs 486 The 525-line system originally contained 486 lines of picture, not 480. Digital foundations to most storage and transmission systems since the early 1990s have meant that analogue NTSC has only been expected to have 480 lines of picture.[citation needed] How this affects the interpretation of "the 4:3 ratio" as equal to 704x480 or 704x486 is unclear, but the VGA standard of 640x480 has had a large impact.[citation needed]

CRT legacy. New model 1:1 sample to pixel (but reality usually involves scaling). Need to explicitly state SAR in video. “Hypothetical reference display”.

Black Padding

Horizontal Subsampling 4:2:0, 4:1:1, 1440h, etc. Sample aspect ratio is changed from the norm. See anamorphic Squeeze, subsample the horizontal to match aspect ratio of non-square pixels. Quantization range e.g. 16-235, 0-255, +/-128

Color space Rec 601, 709; negative coefficients 50 Hz Professional conversion tools exist but results are just okay Input by SPE Consider building a progressive frame, then output converted interlace frame Standardizing on 24p and 60i for as line standards allows content to be used globally on modern equipment (external displays) Input by Microsoft Restrict 50Hz Contents Allow 50Hz Content and devices in 50Hz Regions (Both Contents & Devices Regionally optional) Allow 50Hz Content Worldwide with a Warning (Contents Regionally optional, Devices mandatory) Playback of 25i content on 60Hz interfaces/displays Gamma curve, render intent, display adaptation

Frame rates 15.00p, 23.97p, 25.00i, 29.97i/p, 50.00p, 59.97i/p (1000/1001 video rates) Any frame rate is OK on a self contained device with decoupled refresh or multisync; but NTSC, PAL, HDMI, etc. video connections have limited frame rate options. Typically, STB can output 24Hz to new displays, or 30i to old (3:2 pulldown) Typically STB can output 24Hz with 3:2 or +4% to 50/60 Hz displays; problem is 25i content to 60Hz only displays. Devices can insert pulldown Setup, color space, 3:2 pulldown, deinterlace, crop, p/s, letterbox, pillarbox, tiltscan, cylindrical stretch Output signal limitations: e.g. 1280x720 may require 1366x720, etc. connection to allow “Overscan” cropping and 1:1 sample to pixel mapping (without scaling and filtering) Progressive or Interlacing

Interlaced temporal sub-sampling, filtering Gamma curve, render intent, display adaptation