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LCD stands for “Liquid Crystal Display” and TFT stands for “Thin Film Transistor”. These two terms are used commonly in the industry but refer to the same technology and are really interchangeable when talking about certain technology screens. The TFT terminology is often used more when describing desktop displays, whereas LCD is more commonly used when describing TV sets. Don’t be confused by the different names as ultimately they are one and the same. You may also see reference to “LED displays” but the term is used incorrectly in many cases. The LED name refers only to the backlight technology used, which ultimately still sits behind an liquid crystal panel (LCD/TFT).

As TFT screens are measured differently to older CRT monitors, the quoted screen size is actually the full viewable size of the screen. This is measured diagonally from corner to corner. TFT displays are available in a wide range of sizes and aspect ratios now. More information about the common sizes of TFT screens available can be seen in our section about resolution.

The aspect ratio of a TFT describes the ratio of the image in terms of its size. The aspect ratio can be determined by considering the ratio between horizontal and vertical resolution.

16:9 = wide screen formats such as 1920 x 1080 and 2560 x 1440. 16:9 is commonly used for multimedia displays and TV’s and is increasingly becoming the standard

The resolution of a TFT is an important thing to consider. All TFT’s have a certain number of pixels making up their liquid crystal matrix, and so each TFT has a “native resolution” which matches this number. It is always advisable to run the TFT at its native resolution as this is what it is designed to run at and the image does not need to be stretched or interpolated across the pixels. This helps keep the image at its most clear and at optimum sharpness. Some screens are better than others at running below the native resolution and interpolating the image which can sometimes be useful in games.

You generally cannot run a TFT at a resolution of above its native resolution although some screens have started to offer “Virtual” resolutions, for example “virtual 4k” where the screen will accept a 3840 x 2160 input from your graphics card but scale it back to match the native resolution of the panel which is often 2560 x 1440 in these examples. This whole process is rather pointless though as you lose a massive amount of image quality in doing so.

Ultra-high resolutions must be thought of in a slightly different way. Ultra HD (3840 x 2160) and 4K (4096 x 2160) resolutions are being provided nowadays on standard screen sizes like 24 – 27” for instance. Traditionally as you increased the resolution of panels it was about providing more desktop real estate to work with. However, with those resolutions being so high, and the screen size being relatively small still, the image and text becomes incredibly small if you run the screen at normal scaling at those native resolutions. For instance imagine a 3840 x 2160 resolution on a 24” screen compared with 1920 x 1080. The latter would probably be considered a comfortable font size for most users. These ultra-high resolutions nowadays are about improving image clarity and sharpness, and providing a higher pixel density (measured as pixels per inch = PPI). In doing so, you can improve the sharpness and clarity of an image much like Apple have famously done with their “Retina” displays on iPads and iPhones. To avoid complications with tiny images and fonts, you will then need to enable scaling in your operating system to make everything easier to see. For instance if you enabled scaling at 150% on a 3840 x 2160 resolution, you would end up with a screen real estate equivalent to a 2560 x 1440 panel (3840 / 1.5 = 2560 and 2160 / 1.5 = 1440). This makes text much easier to read and the whole image a more comfortable size, but you then get additional benefits from the higher pixel density instead, which results in a sharper and crisper image.

Generally you will need to take scaling in to consideration when purchasing any ultra-high resolution screen, unless it’s of a very large size. The scaling ability does vary however between different operating systems so be careful. Apple OS and modern Windows (8 and 10) are generally very good at handling scaling for ultra-high res displays. Older operating systems are less capable and may sometimes be complicated. You will also find varying support from different applications and games, and often end up with weird sized fonts or sections that are not scaled up and remain extremely small. A “standard” resolution where you don’t need to worry about scaling might be simpler for most users.

To display this content of this type, your screen needs to be able to 1) handle the full resolution naturally within its native resolution, and 2) be able to handle either the progressive scan or interlaced signal over whatever video interface you are using. If the screen cannot support the full resolution, the image can still be shown but it will be scaled down by the hardware and you won’t be take full advantage of the high resolution content. So for a monitor, if you want to watch 1080 HD content you will need a monitor which can support at least a vertical resolution of 1080 pixels, e.g. a 1920 x 1080 monitor.

Unlike on CRT’s where the dot pitch is related to the sharpness of the image, the pixel pitch of a TFT is related to the distance between pixels. This value is fixed and is determined by the size of the screen and the native resolution (number of pixels) offered by the panel. Pixel pitch is normally listed in the manufacturers specification. Generally you need to consider that the ‘tighter’ the pixel pitch, the smaller the text will be, and potentially the sharper the image will be. To be honest, monitors are normally produced with a sensible resolution for their size and so even the largest pixel pitches return a sharp images and a reasonable text size. Some people do still prefer the larger-resolution-crammed-into-smaller-screen option though, giving a smaller pixel pitch and smaller text. It’s down to choice and ultimately eye-sight.

For instance you might see a 35″ ultra-wide screen with only a 2560 x 1080 resolution which would have a 0.3200 mm pixel pitch. Compare this to a 25″ screen with 2560 x 1400 resolution and 0.2162 mm pixel pitch and you can see there will be a significant different in font size and image sharpness. There are further considerations when it comes to the pixel pitch of ultra-high resolution displays like Ultra HD and 4K. See the section on PPI for more information.

Instead manufacturers are now focusing on delivering higher resolutions in to existing panel sizes, not for the purpose of providing more desktop real-estate, but for the purpose of improving image sharpness and picture quality. Apple started this trend with their “Retina Displays” used in iPads and iPhones, improving image sharpness and clarity massively. It is common now to see smaller screens such as 24″ and 27″ for instance, but with high resolutions like 3840 x 2160 (Ultra HD) or even 5120 x 2880 (5K). By packing more pixels in to the same screen size which would typically offer a 2560 x 1440 resolution, panel manufacturers are able to provide much smaller pixel pitches and improve picture sharpness and clarity. To measure this new way of looking at resolution you will commonly see the spec of ‘Pixels Per Inch’ (PPI) being used.

Of course the problem with this is that if you run a screen as small as 27″ with a 5K resolution, the font size is absolutely tiny by default. You get a massive boost of desktop real-estate, just like when moving from 1920 x 1080 to 2560 x 1440, but that’s not the purpose of these higher resolutions now. To overcome this you need to use the scaling options in your Operating System software to scale the image and make it more usable. Windows provides for instance scaling options like 125% and 150% within the control panel. On a 3840 x 2160 Ultra HD resolution if you use a 150% scaling option for example you will in effect reduce the desktop area by a third, resulting in the same desktop area as a 2560 x 1440 display (i.e. 2560 x 150% = 3840). The OS scaling makes font sizes more comfortable and reasonable, but you maintain the sharp picture quality and small pixel pitch of the higher resolution panel. A 3840 x 2160 res panel scaled at 150% in Windows will look sharper and crisper than a 2560 x 1440 native panel without scaling, despite the fact both would have the same effective desktop area available.

While this aspect is not always discussed by display manufacturers it is a very important area to consider when selecting a TFT monitor. The LCD panels producing the image are manufactured by many different panel vendors and most importantly, the technology of those panels varies. Different panel technologies will offer different performance characteristics which you need to be aware of. Their implementation is dependent on the panel size mostly as they vary in production costs and in target markets. The four main types of panel technology used in the desktop monitor market are:

TN Film was the first panel technology to be widely used in the desktop monitor market and is still regularly implemented in screens of all sizes thanks to its comparatively low production costs. TN Film is generally characterized by good pixel responsiveness making it a popular choice for gamer-orientated screens. Where overdrive technologies are also applied the responsiveness is improved further. TN Film panels are also available supporting 120Hz+ refresh rates making them a popular choice for stereoscopic 3D compatible screens. While older TN Film panels were criticized for their poor black depth and contrast ratios, modern panels are actually very good in this regard, often producing a static contrast ratio of up to 1000:1. Perhaps the main limitation with TN Film technology is its restrictive viewing angles, particularly in the vertical field. While specs on paper might look promising, in reality the viewing angles are restrictive and there are noticeable contrast and gamma shifts as you change your line of sight. TN Film panels are normally based around a 6-bit colour depth as well, with a Frame Rate Control (FRC) stage added to boost the colour palette. They are often excluded from higher end screens or by colour enthusiasts due to this lower colour depth and for their viewing angle limitations. TN Film panels are regularly used in general lower end and office screens due to cost, and are very popular in gaming screens thanks to their low response times and high refresh rate support. Pretty much all of the main panel manufacturers produce TN Film panels and all are widely used (and often interchanged) by the screen manufacturers.

IPS was originally introduced to try and improve on some of the drawbacks of TN Film. While initially viewing angles were improved, the panel technology was traditionally fairly poor when it came to response times and contrast ratios. Production costs were eventually reduced and the main investor in this technology has been LG.Display (formerly LG.Philips). The original IPS panels were developed into the so-called Super IPS (S-IPS) generation and started to be more widely used in mainstream displays. These were characterized by their good colour reproduction qualities, 8-bit colour depth (without the need for Frame Rate Control) and very wide viewing angles. These panels were traditionally still quite slow when it came to pixel response times however and contrast ratios were mediocre. In more recent years a change was made to the pixel alignment in these IPS panels (see our detailed panel technology article for more information) which gave rise to the so-called Horizontal-IPS (H-IPS) classification. With the introduction of overdrive technologies, response times were improved significantly, finally making IPS a viable choice for gaming. This has resulted more recently in IPS panels being often regarded as the best all-round technology and a popular choice for display manufacturers in today’s market. Improvements in energy consumption and reduced production costs lead to the generation of so-called e-IPS panels. Unlike normal 8-bit S-IPS and H-IPS classification panels, the e-IPS generation worked with a 6-bit + FRC colour depth. Developments and improvements with colour depths also gave rise to a generation of “10-bit” panels with some manufacturers inventing new names for the panels they were using, including the co-called Performance-IPS (p-IPS). It is important to understand that these different variants are ultimately very similar and the names are often interchanged by different display vendors. For more information, see our detailed panel technologies guide.

Nowadays IPS panels are produced and developed by several leading panel manufacturers. LG.Display technically own the IPS name and continue to invest in this popular technology. Samsung began production of their very similar PLS (Plane to Line Switching) technology, as did AU Optronics with their AHVA (Advanced Hyper Viewing Angle). These are all so similar in performance and features that they can be simply referred to now as “IPS-type”. Indeed monitor manufacturers will normally stick to the common IPS name but the underlying panel may be produced by any number of different manufacturers investing in this type of panel tech. AU Optronics have done a good job with finally increasing the refresh rate of their IPS panels, and making them a more viable option for gamers. Native 144Hz IPS-type panels are now available and response times continue to be reduced as well. Modern IPS panels are characterized by decent response times, if not quite as fast as TN Film they are certainly more fluid than older panels. Contrast ratios are typically around 1000:1 and viewing angles continue to be the widest and most stable of any panel technology. You will find varying colour depths including 6-bit+FRC and 8-bit commonly being used, although this makes little difference in practice. One of the remaining limitations with IPS-type technologies are the so-called “IPS glow”, where darker content introduces a pale glow when viewed from an angle. It’s a characteristic of the panel technology and pretty hard to avoid without additional filters being added to the panels. On larger and wider screens some people find this glow distracting and problematic.

This technology was developed by Sharp for use in some of their TFT displays. It consists of several improvements that Sharp claim to have made, mainly to counter the drawbacks of the popular TN Film technology. They have introduced an Anti-Glare / Anti-Reflection (AGAR) screen coating which forms a quarter-wavelength filter. Incident light is reflected back from front and rear surfaces 180° out of phase, thus canceling reflection rather diffusing it as others do. As well as reducing glare and reflection from the screen, this is marketed as being able to offer deeper black levels. Sharp also claim to offer better contrast ratios than any competing technology (VA and IPS); but with more emphasis on improving these other technologies, this is probably not the case with more modern panels. There are very few ASV monitors around really, with the majority of the market being dominated by TN, VA and IPS panels.

This technology was developed by BOE Hydis, and is not really very widely used in the desktop TFT market, more in the mobile and tablet sectors. It is worth mentioning however in case you come across displays using this technology. It was developed by BOE Hydis to offer improved brightness and viewing angles to their display panels and claims to be able to offer a full 180/180 viewing angle field as well as improved colours. This is basically just an advancements from IPS and is still based on In Plane technology. They claim to “modify pixels” to improve response times and viewing angles thanks to improved alignment. They have also optimised the use of the electrode surface (fringe field effect), removed shadowed areas between pixels, horizontally aligned electric fields and replaced metal electrodes with transparent ones. More information about AFFS can be found here.

This panel technology was developed by NEC LCD, and is reported to offer wide viewing angles, fast response times, high luminance, wide colour gamut and high definition resolutions. Of course, there is a lot of marketing speak in there, and the technology is not widely employed in the mainstream monitor market. Wide viewing angles are possible thanks to the horizontal alignment of liquid crystals when electrically charged. This alignment also helps keep response times low, particularly in grey to grey transitions. Their SFT range also offers high definition resolutions and are commonly used in medical displays where extra fine detail is required.

NEC’s SFT technology was first developed to be labelled as Advanced-SFT (A-SFT) which offered enhanced luminance figures. This then developed further to Super Advanced-SFT (SA-SFT) where colour gamut reached 72% of the NTSC colour space, and then to Ultra Advanced-SFT (UA-SFT) where the gamut was still at 72% or higher, but with a further enhancement of the luminance as compared with SA-SFT. These changes were all made possible thanks to the improved transmissivity of the SFT technology. More information is available from NEC LCD

One thing to note regarding pixel response time is that the overall performance of the TFT will also depend on the technology of the panel used. TN film panels offer response time graphs similar to that above, but screens based on traditional VA / IPSvariant panels can show response time graphs more like this (we are assuming for now non-overdriven panels):

Some reviews sites including TFTCentral have access to advanced photosensor (photodiodе + low-noise operational amplifier) and oscilloscope measurement equipment which allows them to measure response time as detailed above. See our article about response times for more information on that method. Graphs showing response time according to their equipment are produced. Other sites rely on observed responsiveness to compare how well a panel can perform in practice and what a user might see in normal use. We think it is important to study both methods if possible to give a fuller picture of a panels performance. For visual tests TFTCentral uses a program called PixPerAn (developed by Prad.de) which is good for comparing monitor responsiveness with its series of tests. The favourite seems to be the moving car test as shown here:

In addition to pixel response time measurements and visual tests described above, it is also possible to capture the levels of blurring and smearing the human eye will experience on a display. This is achieved using a pursuit camera setup. They are simply cameras which follow the on-screen motion and are extremely accurate at measuring motion blur, ghosting and overdrive artefacts of moving images. Since they simulate the eye tracking motion of moving eyes, they can be useful in giving an idea of how a moving image appears to the end user. It is the blurring caused by eye tracking on continuously-displayed refreshes (sample-and-hold) that we are keen to analyse with this new approach. This is not pixel persistence caused by response times; but a different cause of display motion blur which cannot be captured using static camera tests. Low response times do have a positive impact on motion blur, and higher refresh rates also help reduce blurring to a degree. It does not matter how low response times are, or how high refresh rates are, you will still see motion blur from LCD displays under normal operation to some extent and that is what this section is designed to measure. Further technologies specifically designed to reduce perceived motion blur are required to eliminate the blur seen on these type of sample-and-hold displays which we will also look at.

These tests capture the kind of blurring you would see with the naked eye when tracking moving objects across the screen (example from the Asus ROG Swift PG279Q). As you increase the refresh rate the perceived blurring is reduced, as refresh rate has a direct impact on motion blur. It is not eliminated entirely due to the nature of the sample-and-hold LCD display and the tracking of your eyes. No matter how fast the refresh rate and pixel response times are, you cannot eliminate the perceived motion blur without other methods.Tests like the above would give you an idea of the kind of perceived motion blur range when using the particular screen without any bur reduction mode active.

The Contrast Ratio of a TFT is the difference between the darkest black and the brightest white it is able to display. This is really defined by the pixel structure and how effectively it can let light through and block light out from the backlight unit. As a rule of thumb, the higher the contrast ratio, the better. The depth of blacks and the brightness of the whites are better with a higher contrast ratio. This is also referred to as the static contrast ratio.

When considering a TFT monitor, a contrast ratio of 1000:1 is pretty standard nowadays for TN Film and IPS-type panels. VA-type panels can offer static contrast ratios of 3000:1 and above which are significantly higher than other competing panel technologies.

Some technologies boast the ability to dynamically control contrast (Dynamic Contrast Ratio – DCR) and offer much higher contrast ratios which are incredibly high (millions:1 for instance!). Be wary of these specs as they are dynamic only, and the technology is not always very useful in practice. Traditionally, TFT monitors were said to offer poor black depth, but with the extended use of VA panels, the improvements from IPS and TN Film technology, and new Dynamic Contrast Control technologies, we are seeing good improvements in this area. Black point is also tied in to contrast ratio. The lower the black point, the better, as this will ensure detail is not lost in dark image when trying to distinguish between different shades.

Brightness as a specification is a measure of the brightest white the TFT can display, and is more accurately referred to as its luminance. Typically TFT’s are far too bright for comfortable use, and the On Screen Display (OSD) is used to turn the brightness setting down. Brightness is measure in cd/m2 (candella per metre squared). Note that the recommended brightness setting for a TFT screen in normal lighting conditions is 120 cd/m2. Default brightness of screens out of the box is regularly much higher so you need to consider whether the monitor controls afford you a decent adjustment range and the ability to reduce the luminance to a comfortable level based on your ambient lighting conditions. Different uses may require different brightness settings as well so it is handy when reviews record the luminance range possible from the screen as you adjust the brightness control from 100 to 0%.

The colour depth of a TFT panel is related to how many colours it can produce and should not be confused with colour space (gamut). The more colours available, the better the colour range can potentially be. Colour reproduction is also different however as this related to how reliably produced the colours are compared with those desired.

The colour depth of a panel is determined really by the number of possible orientations of each sub pixel (red, blue and green). These different orientations basically determine the different shade of grey (or colours when filtered in the specific way via RGB sub pixels) and the more “steps” between each shade, the more possible colours the panel can display.

Spatial Dithering – The dithering method involves assigning appropriate colour values from the available colour palette to close-by pixels in such a way that it gives the impression of a new colour tone which otherwise could not have been created at all. In doing so, there complex mappings according to which the ground colours are mutually assigned, otherwise it could result in colour noise / dithering noise. Dithering can be used to allow 6-Bit panels, like TN Film, to show 16.2 million perceived colours. This can however sometimes be detectable to the user, and can result in chessboard like patterns being visible in some cases.

Frame Rate Control / Temporal Dithering– The other method is Frame-Rate-Control (FRC), also referred to sometimes as temporal dithering. This works by combining four colour frames as a sequence in time, resulting in perceived mixture. In basic terms, it involves flashing between two colour tones rapidly to give the impression of a third tone, not normally available in the palette. This allows a total of 16.2 reproducible million colours. Thanks to Frame-Rate-Control, TN panel monitors have come pretty close to matching the colours and image quality of VA or IPS panel technology, but there are a number of FRC algorithms which vary in their effectiveness. Sometimes, a twinkling artefact can be seen, particularly in darker shades, which is a side affect of such technologies. Some TN Film panels are now quoted as being 16.7 million colours, and this is down to new processes allowing these panels to offer a better colour depth compared with older TN panels.

10-bit colour depth is typically only used for very high end graphics uses and in professional grade monitors. There are three main ways of implementing 10-bit colour depth support. Most screens which are advertised as having 10-bit support are actually using true 8-bit panels. There is an additional FRC stage added to extend the colour palette. This FRC can be applied either on the panel side (8-bit + FRC panels) or on the monitor LUT/electronics side. Either way, the screen simulates a larger colour depth and does not offer a ‘true’ 10-bit support. You can also only make use of this 10-bit support if you have a full end-to-end 10-bit workflow, including a supporting software, graphics card and operating system. There are a few ‘true’ 10-bit panels available but these are prohibitively expensive and rarely used at the moment. See our panel parts database for more information about different panels.

Colour gamut in TFT monitors refers to the range of colours the screen is capable of displaying, and how much of a given reference colour space it might be able to display. It is ultimately linked to backlight technology and not to the panel itself.

Laser Displays are capable of producing the biggest colour gamut for a system with three basic colours, but even a laser display cannot reproduce all the colours the human eye can see, although it is quite close to doing that. However, in today’s monitors, both CRT and LCD (except for some models I’ll discuss below), the spectrum of each of the basic colours is far from monochromatic. In the terms of the CIE diagram it means that the vertexes of the triangle are shifted from the border of the diagram towards its centre.

Traditionally, LCD monitors were capable of giving approximate coverage of the sRGB reference colour space as shown in the diagram above. This is defined by the backlighting used in these displays – Cold-cathode fluorescent lamps (CCFL) that are employed which emit radiation in the ultraviolet range which is transformed into white colour with the phosphors on the lamp’s walls. These backlight lamps shine through the LCD panel, and through the RGB sub-pixels which act as filters for each of the colours. Each filter cuts a portion of spectrum, corresponding to its pass-band, out of the lamp’s light. This portion must be as narrow as possible to achieve the largest colour gamut.

Traditional CCFL backlighting offers a gamut pretty much covering the sRGB colour space. However, the sRGB space is a little small to use as a reference in specifications for colour gamuts and so the larger NTSC colour space reference is also sometimes used. The sRGB space corresponds to approximately 72% of the NTSC colour space, which is a figure commonly used in specifications for standard CCFL backlit monitors. If you read the reviews here, you will see that analysis with colorimeter devices allows us to measure the colour gamut, and you can easily spot those screens utilising regular CCFL backlighting by the fact their gamut triangle is pretty much mapped to the reference sRGB triangle. The sRGB colour space is lacking most in green hues as compared with the gamut of the human eye. It should be noted that most content is produced based on the sRGB colour space, including Windows, many popular applications and internet content.

Above Right: a typical measurement of a monitor with enhanced CCFL backlighting, covering more than the sRGB colour space and about 92% of the NTSC space

To help develop and improve on the colour space a screen is capable of displaying a new generation CCFL backlighting was introduced. These so-called “wide gamut” backlights allow a gamut coverage of typically 92 – 102% of the NTSC colour space. There is a difference in practice which all users should be able to detect. The colour space available is extended mainly in green shades as you can see from the image above. Red coverage is also extended in some cases. This extended colour space sounds appealing on face value since the screens featuring WCG-CCFL backlighting can offer a broader range of colours. Manufacturers will often promote the colour space coverage of their screens with these high figures. In practice you need to consider what impact this would have on your use.

Of course the opposite is true if in fact you are working with content which is based on a wider colour space. In photography, the Adobe RGB colour space is often used and is wider than the sRGB reference. If you are working with wide gamut content, with wide gamut supported applications, you would want a screen that can correctly display the full range of colours. This could not be achieved using a traditional CCFL backlit display with only sRGB coverage, and so a wide gamut screen would be needed. Wide gamut displays are often aimed at colour enthusiasts and professional uses as a result.

A compromise is sometimes available in the form of a screen which can support a range of colour spaces accurately. Some higher end screens come with a wide gamut backlight unit. Natively these offer a gamut covering 92 – 102% of the NTSC colour space. However, they also feature emulation modes which can simulate a smaller colour space. These emulation modes are normally available through the OSD menu and offer varying options with varying degrees of reliability. In the best cases the screens can emulate the smaller Adobe RGB colour space, and also the sRGB colour space. This allows the user to work in whichever colour space they prefer but gives them compatibility with a wider range of content if they have the need. The success of these colour space emulations will vary from one screen to another however and are not always accurate. Obviously you are still paying additional money for the wide gamut support, so if you’re only really interested in using sRGB mode then you’d probably be better looking for a standard gamut backlit screen.

LED backlighting has now become the norm for desktop monitors and is available in a few variations. The most common is White-LED (W-LED), which is a replacement for standard CCFL backlighting. The LED’s are placed in a line along the edge of the matrix, and the uniform brightness of the screen is ensured by a special design of the diffuser. The colour gamut is limited to sRGB as standard (around 68 – 72% NTSC) but the units are cheaper to manufacturer and so are being utilised in more and more screens, even in the more budget range. They do have their environmental benefits as they can be recycled, and they have a thinner profile making them popular in super-slim range models and notebook PC’s. It is possible to extend the colour gamut of W-LED displays using “Quantum Dot” technologies which are fairly new.

RGB LED backlighting consists of an LED backlight based on RGB triads, each triad including one red, one green and one blue LED. With RGB LED backlighting the spectrum of each LED is rather wide, so their radiation can’t be called strictly monochromatic and they can’t match a laser display, yet they are much better than the spectrum of CCFL and WCG-CCFL backlighting. RGB LED backlighting is not common yet in desktop monitors, and their price tends to put them way above the budget of all but professional colour enthusiast and business users. These models using RGB LED backlights are capable of offering a gamut covering > 114% of the NTSC colour space. They are not really used at all nowadays as they were prohibitively expensive.

There are also wide gamut LED backlights available and more commonly used nowadays as they are cheaper to manufacturer than older RGB LED versions. GB-r-LED for instance is provided by LG.Display and can offer wide gamut support from an LED backlight. Other panel manufacturers have their equivalents as well. Modern LED screens with wide gamut support tend to have a percentage coverage of the Adobe RGB reference space listed in the display spec, with 99% Adobe RGB being pretty standard for wide gamut LED technologies.

You will commonly see a monitor’s gamut listed as a percentage compared with a reference colour space. This will vary depending on which reference a manufacturer uses, but commonly you will see a % against the NTSC or Adobe RGB colour spaces. Bear in mind also that the gamut / colour space of the sRGB standard equates to about 72 – 75% of the NTSC reference. This is the standard colour space for the Windows operating system and the internet, and so where extended colour spaces are produced from a monitor, considerations need to be made as to the colour space of the content you are viewing.

Viewing angles are quoted in horizontal and vertical fields and often look like this in listed specifications: 170/160 (170° in horizontal viewing field, 160° in vertical). The angles are related to how the image looks as you move away from the central point of view, as it can become darker or lighter, and colours can become distorted as you move away from your central field of view. Because of the pixel orientation, the screen may not be viewable as clearly when looking at the screen from an angle, but viewing angles of TFT’s vary depending on the panel technology used.

TFT screens do not refresh in the same way as a CRT screen does, where the image is redrawn at a certain rate. As a TFT is a static image, and each pixel refreshes independently, setting the TFT at a common 60Hz native refresh rate does not cause the same problems as it would on a CRT. There is no cathode ray gun redrawing the image as a whole on a TFT. You will not get flicker, which is the main reason for having a high refresh rate on a CRT in the first place. Standard TFT monitors operate with a 60Hz recommended refresh rate, but can sometimes support up to 75Hz maximum (within the spec) or sometimes even further using ‘overclocking’ methods. The reason that 60Hz is recommended by all the manufacturers is that it is related to the vertical frequency that TFT panels run at. Some more detailed data sheets for the panels themselves clearly show that the operating vertical frequency is between about 56 and 64Hz, and that the panels ‘typically’ run at 60Hz (see the LG.Philips LM230W02 datasheet for instance – page 11). If you decide to run your refresh rate from your graphics card above the recommended 60Hz it will work fine, but the interface chip on the monitor will be in charge of scaling the frequency down to 60Hz anyway. Some screens will allow you to run at the maximum 75Hz as well for an additional boost in frame rates and some minor improvements in motion clarity. The support of this will really depend on the screen, your graphics card and the video connection being used. You may find the screen operates fine at the higher refresh rate setting but in reality the screen will often drop frames to meet the 60Hz recommended setting (or spec of the panel) anyway. Generally we would suggest sticking to 60Hz on standard TFT monitors.

One thing which some people are concerned about is the frames per second (fps) which their games can display. This is one of the key reasons users will look to boost their screen beyond 60Hz. This is related to the refresh rate of your screen and graphics card. There is an option for your graphics card to enable a feature called Vsync which synchronizes the frame rate of your graphics card with the operating frequency of your graphics card (i.e. the refresh rate). Without vsync on, the graphics card is not limited in it’s frame rate output and so will just output as many frames as it can. This can often result in graphical anomalies including ‘tearing’ of the image where the screen and graphics card are out of sync and the picture appears mixed as the monitor tries to keep up with the demanding frame rate from the card. To avoid this annoying symptom, vsync needs to be enabled. With vsync on, the frame rate that your graphics card is determined by the refresh rate you have set in Windows. Capping the refresh rate at 60hz in your display settings limits your graphics card to only output 60fps. If you set the refresh at 75hz then the card is outputting 75fps. What is actually displayed on the monitor might be a different matter though as we explained above.

The desire to offer higher frame rate support and higher refresh rates has lead to panel manufacturers developing panels which can natively support 120Hz+. It is common now to see 120Hz or 144Hz as natively supported refresh rates. This allows much higher frame rates to be displayed and the increase in refresh rate also brings about positive improvements in perceived motion clarity. TN Film panels have been around for many years now with high refresh rates and in recent years there has been development in IPS-type and VA-type panels to boost their refresh rates as well. You will also now see some ‘overclocked’ monitors available where manufacturers have attempted to boost the refresh rate further. For instance the native 144Hz IPS-type panel of the Asus ROG Swift PG279Q up to 165Hz, or the 144Hz native VA-type panel of the Acer Predator Z35 up to 200Hz. Results of these overclocks do vary and are not guaranteed but may provide some additional benefits.

You will see more mention of higher refresh rates from both LCD televisions and now desktop monitors. It’s important to understand the different technologies being used though and what constitutes a ‘real’ 120Hz and what is ‘interpolated’:

Interpolated 120Hz+– These technologies are the ones commonly used in LCD TV’s where TV signal input is limited to 50 / 60 Hz anyway (depending on PAL vs NTSC). To help overcome the issues relating to motion blur on such sets, manufacturers began to introduce a technology to artificially boost the frame rate of the screen. This is done by an internal processing within the hardware which adds an intermediate and interpolated (guessed / calculated) frame between each real frame, boosting from 50 / 60fps to 100 / 120 fps. This technology can offer a noticeable improvement in practice when it is controlled very well. Some sets even have 240 and 480Hz technologies which operate in the same way, but with further interpolation and inserted frames. See here for further information.

True 120HZ technology– to have a true 120Hz screen, it must be capable of accepting a full 120Hz signal output from a device (e.g. a graphics card). Because TV’s are limited at the moment by their input sources they tend to use the above interpolation technology, but with the advent of 3D TV and higher frequency input sources, this will change. Desktop monitors are a different matter though as graphics cards can obviously output a true 120Hz if you have a decent enough card. Some models can accept a 120Hz signal but need different interfaces to cope (e.g. dual-link DVI or DisplayPort).

This relates to the connection type from the TFT to your PC or other external device. Older screens nearly all came with an analogue connection, commonly referred to as D-sub or VGA. This allows a connection from the VGA port on your graphics card, where the signal being produced from the graphics card is converted from a pure digital to an analogue signal. There are a number of algorithms implemented in TFT’s which have varying effectiveness in improving the image quality over a VGA connection. Some TFT’s with then offer a DVI input as well to allow you to make use of the DVI output from your graphics card which you might have. This will allow a pure digital connection which can sometimes offer an improved image quality. It is possible to get DVI – VGA converters. These will not offer any improvements over a standard analogue connection, as you are still going through a conversion from digital to analogue somewhere along the line. Dual-Link DVI is also sometimes used which is a single DVI connection but with more pins, allowing for higher resolution/refresh rate support than a single-link DVI.

Mobile High-Definition Link (MHL) is an industry standard for a mobile audio/video interface that allows consumers to connect mobile phones, tablets, and other portable consumer electronics (CE) devices to high-definition televisions (HDTVs) and monitors. You will sometimes see MHL listed in the spec and is often supported over the HDMI interfaces of a display.

DisplayPort is the most common monitor connection type nowadays, offering the highest bandwidth support and therefore being vital to provide the newest high resolution and high refresh rate panels. The DisplayPort (DP) connection comes in two types, either standard or Mini. They are interchangeable and a simple conversion cable can allow connection between each version.

The visible display measures only 1.5" diagonal,Raspberry Pi NTSC/PAL (Television) TFT Display - 1.5" Diagonalcomes with a NTSC/PAL driver board. The display is very easy to use - simply connect 6-15VDC to the red and black wires, then connect a composite video source to the yellow and black wire. There"s a little button to adjust the LED backlight brightness (5 levels) - there is no other adjustment available but the color and contrast look great right out of the box.

Please note, these miniature displays are very delicate and require care to avoid ripping the delicate flex connector. These are best used by electronics geeks who have experience and are comfortable working with delicate electronic components.

The graphics display resolution is the width and height dimension of an electronic visual display device, measured in pixels. This information is used for electronic devices such as a computer monitor. Certain combinations of width and height are standardized (e.g. by VESA) and typically given a name and an initialism that is descriptive of its dimensions. A graphics display resolution can be used in tandem with the size of the graphics display to calculate pixel density. An increase in the pixel density often correlates with a decrease in the size of individual pixels on a display.

The favored aspect ratio of mass-market display industry products has changed gradually from 4:3, then to 16:10, then to 16:9, and is now changing to 18:9 for smartphones.cathode ray tube (CRT). The 16:10 aspect ratio had its largest use in the 1995–2010 period, and the 16:9 aspect ratio tends to reflect post-2010 mass-market computer monitor, laptop, and entertainment products displays. On CRTs, there was often a difference between the aspect ratio of the computer resolution and the aspect ratio of the display causing non-square pixels (e.g. 320 × 200 or 1280 × 1024 on a 4:3 display).

The 4:3 aspect ratio was common in older television cathode ray tube (CRT) displays, which were not easily adaptable to a wider aspect ratio. When good quality alternate technologies (i.e., liquid crystal displays (LCDs) and plasma displays) became more available and less costly, around the year 2000, the common computer displays and entertainment products moved to a wider aspect ratio, first to the 16:10 ratio. The 16:10 ratio allowed some compromise between showing older 4:3 aspect ratio broadcast TV shows, but also allowing better viewing of widescreen movies. However, around the year 2005, home entertainment displays (i.e., TV sets) gradually moved from 16:10 to the 16:9 aspect ratio, for further improvement of viewing widescreen movies. By about 2007, virtually all mass-market entertainment displays were 16:9. In 2011, 1920 × 1080 (Full HD, the native resolution of Blu-ray) was the favored resolution in the most heavily marketed entertainment market displays. The next standard, 3840 × 2160 (4K UHD), was first sold in 2013.

Also in 2013, displays with 2560 × 1080 (aspect ratio 64:27 or 2.370, however commonly referred to as "21:9" for easy comparison with 16:9) appeared, which closely approximate the common CinemaScope movie standard aspect ratio of 2.35–2.40. In 2014, "21:9" screens with pixel dimensions of 3440 × 1440 (actual aspect ratio 43:18 or 2.38) became available as well.

The computer display industry maintained the 16:10 aspect ratio longer than the entertainment industry, but in the 2005–2010 period, computers were increasingly marketed as dual-use products, with uses in the traditional computer applications, but also as means of viewing entertainment content. In this time frame, with the notable exception of Apple, almost all desktop, laptop, and display manufacturers gradually moved to promoting only 16:9 aspect ratio displays. By 2011, the 16:10 aspect ratio had virtually disappeared from the Windows laptop display market (although Mac laptops are still mostly 16:10, including the 2880 × 1800 15" Retina MacBook Pro and the 2560 × 1600 13" Retina MacBook Pro). One consequence of this transition was that the highest available resolutions moved generally downward (i.e., the move from 1920 × 1200 laptop displays to 1920 × 1080 displays).

All standard HD resolutions share a 16∶9 aspect ratio, although some derived resolutions with smaller or larger ratios also exist. Most of the narrower resolutions are only used for storing, not for displaying videos.

nHD (ninth HD) is a display resolution of 640 × 360 pixels, which is exactly one-ninth of a Full HD (1080p) frame and one-quarter of a HD (720p) frame. Pixel doubling (vertically and horizontally) nHD frames will form one 720p frame and pixel tripling nHD frames will form one 1080p frame.

To avoid storing the eight lines of padded pixels, some people prefer to encode video at 624 × 352, which only has one stored padded line. When such video streams are either encoded from HD frames or played back on HD displays in full-screen mode (either 720p or 1080p) they are scaled by non-integer scale factors. True nHD frames on the other hand has integer scale factors, for example Nokia 808 PureView with nHD display.

One of the few tabletop TVs to use this as its native resolution was the Sony XEL-1. Similar to DVGA, this resolution became popular for high-end smartphone displays in early 2011. Mobile phones including the Jolla, Sony Xperia C, HTC Sensation, Motorola Droid RAZR, LG Optimus L9, Microsoft Lumia 535 and Samsung Galaxy S4 Mini have displays with the qHD resolution, as does the PlayStation Vita portable game system.

The HD resolution of 1280 × 720 pixels stems from high-definition television (HDTV), where it originally used 50 or 60 frames per second. With its 16:9 aspect ratio, it is exactly 2 times the width and 11/2 times the height of 4:3 VGA, which shares its aspect ratio and 480 line count with NTSC. HD, therefore, has exactly 3 times as many pixels as VGA, i.e. almost 1 megapixel.

This resolution is often referred to as p (which stands for progressive scan and is important for transmission formats) is irrelevant for labeling digital display resolutions. When distinguishing 1280 × 720 from 1920 × 1080, the pair has sometimes been labeled HD1 or HD-1 and HD2 or HD-2, respectively.

1280 × 1080 is the resolution of Panasonic"s DVCPRO HD185:1), an approximate of Movietone cameras of the 1930s. In 2007, Hitachi released a few 42" and 50" television models at this resolution.

DCI 2K is a standardized format established by the Digital Cinema Initiatives consortium in 2005 for 2K video projection. This format has a resolution of 2048 × 1080 (2.2 megapixels) with an aspect ratio of 256:135 (1.8962:1).

This resolution was under consideration by the ATSC in the late 1980s to become the standard HDTV format, because it is exactly 4 times the width and 3 times the height of VGA, which has the same number of lines as NTSC signals at the SDTV 4:3 aspect ratio. Pragmatic technical constraints made them choose the now well-known 16:9 formats with twice (HD) and thrice (FHD) the VGA width instead.

The 27-inch version of the Apple Cinema Display monitor introduced in July 2010 has a native resolution of 2560 × 1440, as does its successor, the 27-inch Apple Thunderbolt Display.

The resolution is also used in portable devices. In September 2012, Samsung announced the Series 9 WQHD laptop with a 13-inch 2560 × 1440 display.LG announced a 5.5-inch QHD smartphone display, which was used in the LG G3.Vivo announced a smartphone with a 2560 × 1440 display.Galaxy Note 4,GoogleMotorolaNexus 6HTC 10, the Lumia 950, and the Galaxy S6

This resolution is equivalent to QHD (2560 × 1440) extended in width by 34%, giving it an aspect ratio of 43:18 (2.38:1, or 21.5:9; commonly marketed as simply "21:9"). The first monitor to support this resolution was the 34-inch LG 34UM95-P.UW-QHD to describe this resolution.

This resolution is equivalent to two Full HD (1920 × 1080) displays side by side or one vertical half of a 4K UHD (3840 × 2160) display. It has an aspect ratio of 32:9 (3.5:1), close to the 3.6:1 ratio of IMAX UltraWideScreen 3.6. Samsung monitors at this resolution contain built-in firmware to divide the screen into two 1920 × 1080 screens, or one 2560 × 1080 and one 1280 × 1080 screen.

3840 × 2160 was chosen as the resolution of the UHDTV1 format defined in SMPTE ST 2036-1,4K UHDTV system defined in ITU-R BT.2020UHD-1 broadcast standard from DVB.Ultra HD display.QFHD (Quad Full HD).

The first commercial displays capable of this resolution include an 82-inch LCD TV revealed by Samsung in early 2008,PPI 4K IPS monitor for medical purposes launched by Innolux in November 2010.Toshiba announced the REGZA 55x3,

DisplayPort supports 3840 × 2160 at 30Hz in version 1.1 and added support for up to 75Hz in version 1.2 (2009) and 120Hz in version 1.3 (2014),HDMI added support for 3840 × 2160 at 30Hz in version 1.4 (2009)Hz in version 2.0 (2013).

When support for 4K at 60Hz was added in DisplayPort 1.2, no DisplayPort timing controllers (TCONs) existed which were capable of processing the necessary amount of data from a single video stream. As a result, the first 4K monitors from 2013 and early 2014, such as the Sharp PN-K321, Asus PQ321Q, and Dell UP2414Q and UP3214Q, were addressed internally as two 1920 × 2160 monitors side by side instead of a single display and made use of DisplayPort"s Multi-Stream Transport (MST) feature to multiplex a separate signal for each half over the connection, splitting the data between two timing controllers.Asus PB287Q no longer rely on MST tiling technique to achieve 4K at 60Hz,

4096 × 2160, referred to as DCI 4K, Cinema 4K4K×2K, is the resolution used by the 4K container format defined by the Digital Cinema Initiatives Digital Cinema System Specification, a prominent standard in the cinema industry. This resolution has an aspect ratio of 256:135 (1.8962:1), and 8,847,360 total pixels.

This resolution is equivalent to 4K UHD (3840 × 2160) extended in width by 33%, giving it a 64:27 aspect ratio (2.370 or 21.3:9, commonly marketed as simply "21:9") and 11,059,200 total pixels. It is exactly double the size of 2560 × 1080 in both dimensions, for a total of four times as many pixels. The first displays to support this resolution were 105-inch televisions, the LG 105UC9 and the Samsung UN105S9W.5120 × 2160 monitor, the 34WK95U,5K2K WUHD.

This resolution, commonly referred to as 5K or 5K × 3K, has a 16:9 aspect ratio and 14,745,600 pixels. Although it is not established by any of the UHDTV standards, some manufacturers such as Dell have referred to it as UHD+.QHD (2560 × 1440) in both dimensions for a total of four times as many pixels, and is 33% larger than 4K UHD (3840 × 2160) in both dimensions for a total of 1.77 times as many pixels. The line count of 2880 is also the least common multiple of 480 and 576, the scanline count of NTSC and PAL, respectively. Such a resolution can vertically scale SD content to fit by natural numbers (6 for NTSC and 5 for PAL). Horizontal scaling of SD is always fractional (non-anamorphic: 5.33...5.47, anamorphic: 7.11...7.29).

DisplayPort version 1.3 added support for 5K at 60Hz over a single cable, whereas DisplayPort1.2 was only capable of 5K at 30Hz. Early 5K 60Hz displays such as the Dell UltraSharp UP2715K and HP DreamColor Z27q that lacked DisplayPort1.3 support required two DisplayPort1.2 connections to operate at 60Hz, in a tiled display mode similar to early 4K displays using DP MST.

DisplayPort1.3, finalized by VESA in late 2014, added support for 7680 × 4320 at 30Hz (or 60Hz with Y′CBCR 4:2:0 subsampling). VESA"s Display Stream Compression (DSC), which was part of early DisplayPort1.3 drafts and would have enabled 8K at 60Hz without subsampling, was cut from the specification prior to publication of the final draft.

DSC support was reintroduced with the publication of DisplayPort1.4 in March 2016. Using DSC, a "visually lossless" form of compression, formats up to 7680 × 4320 (8K UHD) at 60Hz with HDR and 30bit/px color depth are possible without subsampling.

Quarter-QVGA (QQVGA or qqVGA) denotes a resolution of 160 × 120 or 120 × 160 pixels, usually used in displays of handheld devices. The term Quarter-QVGA signifies a resolution of one fourth the number of pixels in a QVGA display (half the number of vertical and half the number of horizontal pixels) which itself has one fourth the number of pixels in a VGA display.

Half-QVGA denotes a display screen resolution of 240 × 160 or 160 × 240 pixels, as seen on the Game Boy Advance. This resolution is half of QVGA, which is itself a quarter of VGA, which is 640 × 480 pixels.

Quarter VGA (QVGA or qVGA) is a popular term for a computer display with 320 × 240 display resolution. QVGA displays were most often used in mobile phones, personal digital assistants (PDA), and some handheld game consoles. Often the displays are in a "portrait" orientation (i.e., taller than they are wide, as opposed to "landscape") and are referred to as 240 × 320.

The name comes from having a quarter of the 640 × 480 maximum resolution of the original IBM Video Graphics Array display technology, which became a de facto industry standard in the late 1980s. QVGA is not a standard mode offered by the VGA BIOS, even though VGA and compatible chipsets support a QVGA-sized Mode X. The term refers only to the display"s resolution and thus the abbreviated term QVGA or Quarter VGA is more appropriate to use.

While QVGA is a lower resolution than VGA, at higher resolutions the "Q" prefix commonly means quad(ruple) or four times higher display resolution (e.g., QXGA is four times higher resolution than XGA). To distinguish quarter from quad, lowercase "q" is sometimes used for "quarter" and uppercase "Q" for "Quad", by analogy with SI prefixes like m/M and p/P, but this is not a consistent usage.

Wide QVGA or WQVGA is any display resolution having the same height in pixels as QVGA, but wider. This definition is consistent with other "wide" versions of computer displays.

WQVGA has also been used to describe displays that are not 240 pixels high, for example, Sixteenth HD1080 displays which are 480 pixels wide and 270 or 272 pixels high. This may be due to WQVGA having the nearest screen height.

HVGA (Half-size VGA) screens have 480 × 320 pixels (3:2 aspect ratio), 480 × 360 pixels (4:3 aspect ratio), 480 × 272 (≈16:9 aspect ratio), or 640 × 240 pixels (8:3 aspect ratio). The former is used by a variety of PDA devices, starting with the Sony CLIÉ PEG-NR70 in 2002, and standalone PDAs by Palm. The latter was used by a variety of handheld PC devices. VGA resolution is 640 × 480.

HVGA was the only resolution supported in the first versions of Google Android, up to release 1.5.WVGA resolution on the Motorola Droid or the QVGA resolution on the HTC Tattoo.

Three-dimensional computer graphics common on television throughout the 1980s were mostly rendered at this resolution, causing objects to have jagged edges on the top and bottom when edges were not anti-aliased.

Video Graphics Array (VGA) refers specifically to the display hardware first introduced with the IBM PS/2 line of computers in 1987.D-subminiature VGA connector, or the 640 × 480 resolution itself. While the VGA resolution was superseded in the personal computer market in the 1990s, it became a popular resolution on mobile devices in the 2000s.

In the field of (NTSC) videos, the resolution of 640 × 480 is sometimes called Standard Definition (SD), in contrast to high-definition (HD) resolutions like 1280 × 720 and 1920 × 1080.

Wide VGA or WVGA, sometimes just WGA is any display resolution with the same 480-pixel height as VGA but wider, such as 720 × 480 (3:2 aspect ratio), 800 × 480 (5:3), 848 × 480, 852 × 480, 853 × 480, or 854 × 480 (≈16:9).

FWVGA is an abbreviation for Full Wide Video Graphics Array which refers to a display resolution of 854 × 480 pixels. 854 × 480 is approximately the 16:9 aspect ratio of anamorphically "un-squeezed" NTSC DVD widescreen video and is considered a "safe" resolution that does not crop any of the image. It is called Full WVGA to distinguish it from other, narrower WVGA resolutions which require cropping 16:9 aspect ratio high-definition video (i.e. it is full width, albeit with a considerable reduction in size).

In 2010, mobile phones with FWVGA display resolution started to become more common. A list of mobile phones with FWVGA displays is available. In addition, the Wii U GamePad that comes with the Nintendo Wii U gaming console includes a 6.2-inch FWVGA display.

Super Video Graphics Array, abbreviated to Super VGA or SVGA, also known as Ultra Video Graphics Array,Ultra VGA or UVGA, is a broad term that covers a wide range of computer display standards.

Examples of devices that use DVGA include the Meizu MX mobile phone and the Apple iPhone 4 and 4S with the iPod Touch 4, where the screen is called the "Retina Display".

Although digital broadcast content in former PAL/SECAM regions has 576 active lines, several mobile TV sets with a DVB-T2 tuner use the 600-line variant with a diameter of 7, 9 or 10 inches (18 to 26 cm).

The Extended Graphics Array (XGA) is an IBM display standard introduced in 1990. Later it became the most common appellation of the 1024 × 768 pixels display resolution, but the official definition is broader than that.

XGA-2 added a 24-bit DAC, but this was used only to extend the available master palette in 256-color mode, e.g. to allow true 256-greyscale output. Other improvements included the provision of the previously missing 800 × 600 resolution in up to 65,536 colors, faster screen refresh rates in all modes (including non-interlace, flicker-free output for 1024 × 768), and improved accelerator performance and versatility.

Wide XGA (WXGA) is a set of non-standard resolutions derived from the XGA display standard by widening it to a widescreen aspect ratio. WXGA is commonly used for low-end LCD TVs and LCD computer monitors for widescreen presentation. The exact resolution offered by a device described as "WXGA" can be somewhat variable owing to a proliferation of several closely related timings optimised for different uses and derived from different bases.

When referring to televisions and other monitors intended for consumer entertainment use, WXGA is generally understood to refer to a resolution of 1366 × 768,1024 × 768 pixels, 4:3 aspect) extended to give square pixels on the increasingly popular 16:9 widescreen display ratio without having to effect major signalling changes other than a faster pixel clock, or manufacturing changes other than extending panel width by one third. As 768 is not divisible by 9, the aspect ratio is not quite 16:9 – this would require a horizontal width of 13651⁄3 pixels. However, at only 0.05%, the resulting error is insignificant.

In 2006, 1366 × 768 was the most popular resolution for liquid crystal display televisions (versus XGA for Plasma TVs flat panel displays);1920 × 1080.

A common variant on this resolution is 1360 × 768, which confers several technical benefits, most significantly a reduction in memory requirements from just over to just under 1MB per 8-bit channel (1366 × 768 needs 1024.5KB per channel; 1360 × 768 needs 1020KB; 1MB is equal to 1024KB), which simplifies architecture and can significantly reduce the amount–and speed–of VRAM required with only a very minor change in available resolution, as memory chips are usually only available in fixed megabyte capacities. For example, at 32-bit color, a 1360 × 768 framebuffer would require only 4MB, whilst a 1366 × 768 one may need 5, 6 or even 8MB depending on the exact display circuitry architecture and available chip capacities. The 6-pixel reduction also means each line"s width is divisible by 8 pixels, simplifying numerous routines used in both computer and broadcast/theatrical video processing, which operate on 8-pixel blocks. Historically, many video cards also mandated screen widths divisible by 8 for their lower-color, planar modes to accelerate memory accesses and simplify pixel position calculations (e.g. fetching 4-bit pixels from 32-bit memory is much faster when performed 8 pixels at a time, and calculating exactly where a particular pixel is within a memory block is much easier when lines do not end partway through a memory word), and this convention persisted in low-end hardware even into the earl