pixel aspect ratio for display screens factory

Each business or client has unique application requirements and specifications for their industrial computer hardware. Space concerns can be a common problem requiring the use of a compact size PC or monitor with a small screen. Other applications may run software that requires a large display screen with higher resolution. There are many computer options offering a range of display sizes and screen resolutions, and occasionally your project may require a specific ratio or resolution to fit a particular project application.

Industrial touch screen computers and monitors are available in a variety of sizes and form-factors. When selecting a device for your project, it is crucial to consider the application, how much information will be displayed on the screen and what software will be loaded onto the unit. These factors all play a role in identifying the model that suits the needs of the particular project. Industrial PCs are an investment for your company and you want to ensure you make the most cost-effective choice.

Standard aspect ratios such as 4:3, 5:4 and 16:9 are commonly used in applications in industrial and consumer areas. These displays have a range of resolutions such as 800 x 600, 1024 x 768, 1280 x 1024 or full HD 1920 x 1080.

To simplify this, the larger the number of the screen resolution, the better. It does not really matter what physical size or display ratio the screen is, the best quality image comes with a higher resolution. The most common resolutions in industrial applications are:

Sometimes traditional aspect ratios and/or screen resolutions are not suitable for the project. This may be due to space constraints where a unit is to be installed, requiring the purchase of a computer or monitor in a smaller screen size. The screen resolution and aspect ratio can also be dictated by the software that the unit is going to be running.

There will be occasions where a PC or monitor may be required to run a non-traditional ratio. Some situations require large quantities of information to be displayed on screen full time. For example, you may need two applications running at the same time in a split-screen format. In order to make this operation as efficient as possible, you need to have a very wide display. A great option for such applications is a 16:10 ratio where it is possible to fit two full pages of text side by side, eliminating the need to switch between opened windows.

STX Technology offers touch screen computers and monitors with different aspect ratios and resolutions to suit virtually any requirement. As a part of the standard range of products, STX Technology has displays with 4:3, 5:4, 16:9 and 16:10 ratios, and resolutions from 800 x 600 pixels up to 1920 x 1080 pixels. Customised solutions are also available as a part of STX Technology’s specialised product design and manufacture programme. If you need any advice or assistance, don’t hesitate to contact the STX Team. With a personal approach to every customer, we can find the solution that will benefit your business.

Aspect Ratio is how the video industry describes the shape of your screen. In other words, the proportion of the height and the width of your screen. Older, CRT-based screens looked mostly square, so they had a 4:3 ratio. What this means is that for every 4 pixels in width the screen had, it had 3 pixels in height. So those screens are 33% wider than they are tall.

Modern, LCD-based screens are rectangular and have a 16:9 ratio. This means that every 16 pixels in width are accompanied by 9 pixels in height. Or that the screens are nearly twice as wide as they are tall. See the figure below for an illustration.

If the proportions of your media is not the same as the aspect ratio for your screen, you will have black bars either above and below or to the sides of your media (letterboxing and pillar boxing, respectively).

Knowledge of different aspect ratios is proving quite essential when deploying various digital signage solutions. As technology advances, digital signage continues to outpace its static counterpart. Nowadays, businesses are embracing interactive digital signage to boost user experience.

On the other hand, static digital signage includes audio, video, and images that do not change or adapt to the adjacent environment. The choice of aspect ratio will depend on the resolution needed, the type of content, and what the business wants to accomplish.

The 4:5 or the 1.91:1 is a vertical or portrait format (1080 x 1350px) commonly used for Instagram main feed. When you multiply this by 2, you get 8:10. This is the aspect ratio used with the popular 8″ x 10″ photos and can work well for digital advertising on relatively smaller screens.

The 16:9 is a widescreen aspect ratio widely used in video players. It’s one of the most common aspect ratios you’ll find in the latest TV designs. This 4k aspect ratio supports up to 4096 by 2160 pixels (px) and works well with high-definition marketing videos.

The 3:2 is a rarity. Originally used with 35mm film/photography. Some tablets, handheld game consoles, and laptops still use this formatting. A typical image framed at 6 X 4 inches or 1080 X 720 Px is available in a 3:2 format.

The 16:10 became popular between 2005 and 2008, where it was common with laptop displays. If you are using a native wide XGA projector, this would be the best option to choose. An XGA projector receives 1920 x 1080 px but outputs 1024 x 768. Some computer monitors still use this aspect ratio.

Aspect ratio and resolution are two terms that describe the format and the quality of an image you see on a screen. Understanding these terms will guide you when designing content for your digital signage. By now, you must be familiar with aspect ratio. Let’s see what resolution is and how it relates to the image or video aspect ratios.

A higher resolution video contains more details than a lower-resolution video and would need a larger screen to display everything. When displaying smaller file sizes, you’ll need to encode your high-quality video into a lower-resolution copy. Once you know what your audience wants to see, it’s easy to choose the right aspect and resolution. You’ll then proceed to develop content for your digital signage that will meet your audience’s expectations.

How to find the aspect ratio of video/image? Locate the pixel dimensions of the image or video you have (e.g., 4096 by 2160 pixels). Divide the long side (higher number) by the short side (lower number). Then take note of the resulting number (here, the answer would be 16:9).

How to check the aspect ratio of the monitor? Find the ratio of width to height by dividing the height by the width. Some monitors allow you to change the display’s proportions via settings.

If the content source has fixed formatting and can’t modify the monitor’s aspect ratio to suit your viewing needs, you’ll need to use encoding software to change the proportions of the content. In summary, aspect ratio challenges can be solved by investing in the right digital signage hardware and the software.

Every picture you view or video you watch is formatted in a given proportion. If you aren’t familiar with these terminologies, you could be asking, what is aspect ratio, or what does that even mean?The aspect ratio of a screen, video, monitor, or display area is the relationship between its width to its height. From the square 1:1 ratio to the most popular 16:9 ratio, there are different ratios.

When designing content for your digital signage: aspect ratio and image resolution are the two factors you should keenly consider. Choosing the right format for your display needs means your images will fit the screen with the best viewing experience, and your audience will also enjoy a decent virtual perception.Knowing the different kinds of aspect ratios allows you to make informed design decisions about what content should be displayed where and for what purpose.

For example, when working with multiple screens, each screen will have different formatting. If you’re looking to display a high-definition video, you’ll choose a 16:9 aspect ratio since it offers a higher resolution than the other formats.Your company’s credibility is also dependent on how well you design your signage. In fact, amateur signage design can cause your business more harm than good.

Knowledge of different aspect ratios is proving quite essential when deploying various digital signage solutions.As technology advances, digital signage continues to outpace its static counterpart. Nowadays, businesses are embracing interactive digital signage to boost user experience.

Interactive mediums involve customer participation, and the content could range from text, animation, video, audio, and even games. Here a 3:2 or 4:3 ratio would do just fine.For motion signage, businesses would always go for the highest resolution possible (4k), supported by the 16:9 aspect ratio.

On the other hand, static digital signage includes audio, video, and images that do not change or adapt to the adjacent environment. The choice of aspect ratio will depend on the resolution needed, the type of content, and what the business wants to accomplish.

The 4:5 or the 1.91:1 is a vertical or portrait format (1080 x 1350px) commonly used for Instagram main feed. When you multiply this by 2, you get 8:10. This is the aspect ratio used with the popular 8″ x 10″ photos and can work well for digital advertising on relatively smaller screens.

The 16:9 is a widescreen aspect ratio widely used in video players. It’s one of the most common aspect ratios you’ll find in the latest TV designs. This 4k aspect ratio supports up to 4096 by 2160 pixels (px) and works well with high-definition marketing videos.

The 3:2 is a rarity. Originally used with 35mm film/photography. Some tablets, handheld game consoles, and laptops still use this formatting. A typical image framed at 6 X 4 inches or 1080 X 720 Px is available in a 3:2 format.

The 16:10 became popular between 2005 and 2008, where it was common with laptop displays. If you are using a native wide XGA projector, this would be the best option to choose. An XGA projector receives 1920 x 1080 px but outputs 1024 x 768. Some computer monitors still use this aspect ratio.

Aspect ratio and resolution are two terms that describe the format and the quality of an image you see on a screen. Understanding these terms will guide you when designing content for your digital signage.By now, you must be familiar with aspect ratio. Let’s see what resolution is and how it relates to the image or video aspect ratios.

Resolution is the number of pixels/dots making up the picture/video on your screen. The more the number of dots/pixels in a picture, the higher the resolution, which means high-quality images and videos to create a captivating display.To get the resolution, you multiply the width (W) times the height (H) while dividing the two for the aspect ratio.

A higher resolution video contains more details than a lower-resolution video and would need a larger screen to display everything. When displaying smaller file sizes, you’ll need to encode your high-quality video into a lower-resolution copy.Once you know what your audience wants to see, it’s easy to choose the right aspect and resolution. You’ll then proceed to develop content for your digital signage that will meet your audience’s expectations.

How to find the aspect ratio of video/image? Locate the pixel dimensions of the image or video you have (e.g., 4096 by 2160 pixels). Divide the long side (higher number) by the short side (lower number). Then take note of the resulting number (here, the answer would be 16:9).

How to check the aspect ratio of the monitor? Find the ratio of width to height by dividing the height by the width. Some monitors allow you to change the display’s proportions via settings.

If the content source has fixed formatting and can’t modify the monitor’s aspect ratio to suit your viewing needs, you’ll need to use encoding software to change the proportions of the content.In summary, aspect ratio challenges can be solved by investing in the right digital signage hardware and the software.

The aspect ratio of an image is the ratio of its width to its height, and is expressed with two numbers separated by a colon, such as 16:9, sixteen-to-nine. For the x:y aspect ratio, the image is x units wide and y units high. Common aspect ratios are 1.85:1 and 2.39:1 in cinematography, 4:3 and 16:9 in television photography, and 3:2 in still photography.

The common film aspect ratios used in cinemas are 1.85:1 and 2.39:1.videographic aspect ratios are 4:3 (1.3:1),16:9 (1.7:1), universal for 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 found in consumer cameras, 16:9.medium format and large format.

With television, DVD and Blu-ray Disc, converting formats of unequal ratios is achieved by enlarging the original image to fill the receiving format"s display area and cutting off any excess picture information (zooming and cropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format"s aspect ratio, by stretching (hence distorting) the image to fill the receiving format"s ratio, or by scaling by different factors in both directions, possibly scaling by a different factor in the center and at the edges (as in Wide Zoom mode).

In motion picture formats, the physical size of the film area between the sprocket perforations determines the image"s size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or 1.3:1.

With a space designated for the standard optical soundtrack, and the frame size reduced to maintain an image that is wider than tall; this resulted in the Academy aperture of 22 mm × 16 mm (0.866 in × 0.630 in) or 1.375:1 aspect ratio.

The motion picture industry convention assigns a value of 1.0 to the image"s height; an anamorphic frame (since 1970, 2.39:1) is often incorrectly described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1.SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1.

In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have 1.6:1 as the wide screen standard. The "Academy ratio" of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release of George Stevens" 6:1). During that time, television, which had a similar aspect ratio of 1.3:1, became a perceived threat to movie studios. Hollywood responded by creating a large number of wide-screen formats: CinemaScope (up to 2.6:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.6:1 to 2.00:1) to name just a few. The "flat" 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the U.S. and elsewhere.

The goal of these various lenses and aspect ratios was to capture as much of the frame as possible, onto as large an area of the film as possible, in order to fully utilize the film being used. Some of the aspect ratios were chosen to utilize smaller film sizes in order to save film costs while other aspect ratios were chosen to use larger film sizes in order to produce a wider higher resolution image. In either case the image was squeezed horizontally to fit the film"s frame size and avoid any unused film area.

Development of various film camera systems must ultimately cater to the placement of the frame in relation to the lateral constraints of the perforations and the optical soundtrack area. One clever wide screen alternative, VistaVision, used standard 35 mm film running sideways through the camera gate, so that the sprocket holes were above and below frame, allowing a larger horizontal negative size per frame as only the vertical size was now restricted by the perforations. There were even a limited number of projectors constructed to also run the print-film horizontally. Generally, however, the 1.50:1 ratio of the initial VistaVision image was optically converted to a vertical print (on standard four-perforation 35 mm film) to show with the standard projectors available at theaters, and was then masked in the projector to the US standard of 1.85:1. The format was briefly revived by Lucasfilm in the late 1970s for special effects work that required larger negative size (due to image degradation from the optical printing steps necessary to make multi-layer composites). It went into obsolescence largely due to better cameras, lenses, and film stocks available to standard four-perforation formats, in addition to increased lab costs of making prints in comparison to more standard vertical processes. (The horizontal process was also adapted to 70 mm film by IMAX, which was first shown at the Osaka "70 Worlds Fair.)

Super 16 mm film was frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm for theatrical release and therefore is sometimes used for feature films.

Square displays are rarely used in devicesInstagram and Vine and has since been supported by other major social platforms including Facebook and Twitter. It can fill nearly twice as much screen space compared to 16:9 format (when the device is held differently while viewing from how video was recorded).

4:3 (1.33:1) (generally read as Four-Three, Four-by-Three, or Four-to-Three) for standard television for fullscreen aspect ratio 1.33:1 has been in use since the invention of moving picture cameras, and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era. It is also very close to the 1.375:1 Academy ratio, defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-on-film. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s).

With the adoption of high-definition television, the majority of modern televisions are now produced with 16:9 displays instead. Apple"s iPad series of tablets continue to use 4:3 displays (despite other Apple products typically using widescreen aspect ratios) to better suit use as an e-reader; however, the 2018 iPad Pro 11-inch uses a 1.43:1 aspect ratio.

16:10 (8:5) is an aspect ratio mostly used for computer displays and tablet computers. The width of the display is 1.6 times its height. This ratio is close to the golden ratio "φ

In 2005–2008, 16:10 overtook 4:3 as the most sold aspect ratio for LCD monitors. At the time, 16:10 also had 90% of the notebook market and was the most commonly used aspect ratio for laptops.Net Applications, by October 2012 the market share of 16:10 displays had dropped to less than 23 percent.

Notably, Apple used 16:10 for all of its MacBook models until 2021, when the 5th-generation MacBook Pro switched to a taller aspect ratio of approximately 1.54:1.MacBook Air continues to use 16:10 as of 2022.

16:9 (1.77:1) (generally named as Sixteen-by-Nine, Sixteen-Nine, and Sixteen-to-Nine) is the international standard format of HDTV, non-HD digital television and analog widescreen television PALplus. Japan"s Hi-Vision originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of 5+1⁄3 to 3 (= 16:9). Many digital video cameras have the capability to record in 16:9 (= 42:32), and 16:9 is the only widescreen aspect ratio natively supported by the DVD standard. DVD producers can also choose to show even wider ratios such as 1.66:1, 1.75:1, 1.77:1 and 1.78:1hard matting or adding black bars within the image itself. However, it was used often in British TVs in the United Kingdom in the 1990s. It is now also being used in smartphones, laptops and many types of media.

Equivalent to integer ratio of 37:20. When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.

Since 1998, cinematographer Vittorio Storaro has advocated for a format named "Univisium" that uses a 2:1 format.Netflix and Amazon Video for productions such as

Moreover, some mobile devices, such as the LG G6, LG V30, Huawei Mate 10 Pro, Google Pixel 2 XL, OnePlus 5T and Sony Xperia XZ3, are embracing the 2:1 format (advertised as 18:9), as well as the Samsung Galaxy S8, Samsung Galaxy Note 8, Samsung Galaxy S9 and Samsung Galaxy Note 9 with a slightly similar 18.5:9 format.iPhone X also has a similar screen ratio of 19.5:9 (2.16:1).

Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected, images have an approximate 2.00:1, 2.20:1, 2.35:1, 2.39:1, 2.40:1, 2.55.1 and 2.76.1 (often rounded to 21:9) aspect ratio. "21:9 aspect ratio" is actually 64:27 (= 43:33), or approximately 2.37:1, and is near both cinematic movie aspect ratios. Most Indian Bollywood films were shot in the 1.37:1 ratio until 1972, when 2.39:1 became standard for all Bollywood movies.

Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (h), width (w) and area (A), where r stands for ratio, written as a fraction of x by y, and d for diagonal length.

This article primarily addresses the aspect ratio of images as displayed, which is more formally referred to as the display aspect ratio (DAR). In digital images, there is a distinction with the storage aspect ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with square pixels, then these ratios agree. If, instead, non-square ("rectangular") pixels are used, then these ratios differ. The aspect ratio of the pixels themselves is known as the pixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity:

For example, a 640 × 480 VGA image has a SAR of 640/480 = 4:3 and, if displayed on a 4:3 display (DAR = 4:3), has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but is displayed on a 4:3 display (DAR = 4:3), so by this formula it would have a PAR of (4:3)/(5:4) = 16:15.

However, because standard definition digital video was originally based on digitally sampling analog television, the 720 horizontal pixels actually capture a slightly wider image to avoid loss of the original analog picture. In actual images, these extra pixels are often partly or entirely black, as only the center 704 horizontal pixels carry actual 4:3 or 16:9 image. Hence, the actual pixel aspect ratio for PAL video is a little different from that given by the formula, specifically 12:11 for PAL and 10:11 for NTSC. For consistency, the same effective pixel aspect ratios are used even for standard definition digital video originated in digital form rather than converted from analog. For more details refer to the main article.

In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, and "aspect ratio" refers unambiguously to DAR. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions.

Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose horizontal and vertical resolutions differ and are thus best described by non-square pixels – and also in some digital videocameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise particularly in transcoding between resolutions with different SARs.

DAR is also known as image aspect ratio and picture aspect ratio, though the latter can be confused with pixel aspect ratio; PAR is also known as sample aspect ratio, though it can also be confused with storage aspect ratio.

1.19:1 (19:16): Sometimes referred to as the Movietone ratio, this ratio was used briefly during the transitional period when the film industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate 1.3 aperture in printing, resulting in an almost square image. Films shot in this ratio are often projected or transferred to video incorrectly using a 1.375:1 mask or squashed to 1.375:1. Examples of films shot in the Movietone ratio include vertical video that is intended for viewing in portrait mode. The format was popularized in particular by apps such as Snapchat, Instagram, and YouTube—which all offer means for publishing vertical videos as content and advertising.

1.25:1 (5:4): The once-popular aspect for larger format computer monitors, especially in the guise of mass-produced 17" and 19" LCD panels or 19" and 21" CRTs, using 1280×1024 (SXGA) or similar resolutions. Notably one of the few popular display aspect ratios narrower than 4:3, and one popularised by business (CAD, DTP) rather than entertainment use, as it is well-suited to full-page layout editing. Historically, 5:4 was also the original aspect ratio of early 405-line television broadcasts, which progressed to a wider 4:3 as the idea of broadcasting cinema films gained traction.

1.3:1 (4:3): 35 mm original silent film ratio, today commonly known in TV and video as 4:3. Also standard ratio for MPEG-2 video compression. This format is still used in many personal video cameras today and has influenced the selection or design of other aspect ratios. It is the standard Super 35 mm ratio.

1.375:1 (11:8): 35 mm full-screen sound film image, nearly universal in films between 1932 and 1953. Officially adopted as the Academy ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used in other contexts.

1.43:1: IMAX format. IMAX productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each image.

1.5:1 (3:2): The aspect ratio of 35 mm film used for still photography when eight perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally. Used on the ChromeOS-based Chromebook Pixel notebook PC, the Game Boy Advance portable game console, the Surface Pro 3 laplet, and Surface Studio.

1.5:1 (14:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 and 16:9. When converted to a 16:9 frame, there is slight pillarboxing, while conversion to 4:3 creates slight letterboxing. All widescreen content on ABC Family"s SD feed until January 2016 was presented in this ratio.

1.6:1 (5:3): 35 mm widescreen ratio, originally invented by Paramount Pictures, later a standard among several European countries.Walt Disney Feature Animation"s CAPS program animated their features in the 1.6:1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.3:1 ratio used for home video); this format is also used by the Nintendo 3DS"s top screen.

1.75:1 (7:4): Early 35 mm widescreen ratio, primarily used by MGM and Warner Bros. between 1953 and 1955 and since abandoned, though Disney has cropped some of its post-1950s full-screen films to this ratio for DVD, including

1.7:1 (16:9 = 42:32): Video widescreen standard, used in high-definition television, one of three ratios specified for MPEG-2 video compression. Also used increasingly in personal video cameras. Sometimes this ratio is rounded to 1.78:1.

1.85:1 (~37:20): 35 mm US and UK widescreen standard for theatrical film. Introduced by Universal Pictures in May 1953. Projects approximately three perforations ("perfs") of image space per four-perf frame; films can be shot in 3-perf to save cost of film stock. Also the ratio of Ultra 16 mm. One of two common formats in digital cinema, where it is called "flat".

Red Digital Cinema Camera Company. Original SuperScope ratio, also used in Univisium. Used as a flat ratio for some American studios in the 1950s and abandoned in the 1960s. Also used in recent mobile phones such as the LG G6, Google Pixel 2 XL, HTC U11+, Xiaomi MIX 2S, and Huawei Mate 10 Pro, while the Samsung Galaxy S8, Note 8, and S9 use the similar 18.5:9 ratio.

2.35:1 (~47:20): 35 mm anamorphic prior to 1970, used by CinemaScope (""Scope") and early Panavision. The anamorphic standard has subtly changed so that contemporary anamorphic productions are actually 2.39:1,(Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.

2.370:1 (64:27 = 43:33): TVs were produced with this aspect ratio between 2009 and 201221:9 cinema displays". But this aspect ratio is still seen on some higher-end monitors, which are sometimes called UltraWide monitors.

2.39:1 (~43:18): 35 mm anamorphic from 1970 onwards. Aspect ratio of current anamorphic widescreen theatrical viewings, commercials, and some music videos. Often commercially branded as Panavision format or ""Scope". One of two common formats in digital cinema, where it is called "scope".

2.4:1 (12:5): Rounded notation of 2.39:1, also as 2.40:1. Blu-ray Disc film releases may use only 800 instead of 803 or 804 lines of the 1920×1080 resolution, resulting in an even 2.4:1 aspect ratio.

2.55:1 (~51:20): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.

2.6:1 (8:3): Full-frame output from Super 16 mm negative when an anamorphic lens system has been used. Effectively, an image that is of the ratio 24:9 is squashed onto the native 15:9 aspect ratio of a Super 16 mm negative. Also used by Kirill Serebrennikov for Leto (2018).

2.76:1 (69:25): Ultra Panavision 70/MGM Camera 65 (65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1957 and 1966 and some in the 2010s, for some sequences of Cinerama, and films such as Quentin Tarantino used it for Gareth Edwards used the process for shooting

12:1: Circle-Vision 360° developed by the Walt Disney Company in 1955 for use in Disneyland. Uses nine 4:3 35 mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications.

Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced, as envisioned by the people involved in the creation of the work. As an example, the film Super 35 and, in addition to being presented in cinemas and television in the Original Aspect Ratio of 2.39:1, it was also broadcast without the matte, altering the aspect ratio to the television standard of 1.3:1. Because of the varied ways in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used.

Modified Aspect Ratio is a home cinema term for the aspect ratio or dimensions in which a film was modified to fit a specific type of screen, as opposed to original aspect ratio. Modified aspect ratios are usually either 1.3:1 (historically), or (with the advent of widescreen television sets) 1.7:1 aspect ratio. 1.3:1 was the modified aspect ratio used historically on 4:3 broadcast television and home videotape formats such as VHS and Beta. A modified aspect ratio transfer is achieved by means of pan and scan or EAR (Expanded Aspect Ratio)/open matte, the latter meaning removing the cinematic matte from a 1.85:1 film to open up the full 1.3:1 frame or from 2.39:1 to 1.9:1 in IMAX. Another name for it is rescaled aspect ratio.

Multiple aspect ratios create additional burdens on directors and the public, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format (cropped, letterboxed or expanded beyond the original aspect ratio). It is also not uncommon for windowboxing to occur (when letterbox and pillarbox happen simultaneously). For instance, a 16:9 broadcast could embed a 4:3 commercial within the 16:9 image area. A viewer watching on a standard 4:3 (non-widescreen) television would see a 4:3 image of the commercial with 2 sets of black stripes, vertical and horizontal (windowboxing or the postage stamp effect). A similar scenario may also occur for a widescreen set owner when viewing 16:9 material embedded in a 4:3 frame, and then watching that in 16:9. Active Format Description is a mechanism used in digital broadcasting to avoid this problem. It is also common that a 4:3 image is stretched horizontally to fit a 16:9 screen to avoid pillarboxing but distorts the image so subjects appear short and fat.

Both PAL and NTSC have provision for some data pulses contained within the video signal used to signal the aspect ratio (See ITU-R BT.1119-1 – Widescreen signaling for broadcasting). These pulses are detected by television sets that have widescreen displays and cause the television to automatically switch to 16:9 display mode. When 4:3 material is included (such as the aforementioned commercial), the television switches to a 4:3 display mode to correctly display the material. Where a video signal is transmitted via a European SCART connection, one of the status lines is used to signal 16:9 material as well.

Many digital still cameras offer user options for selecting multiple image aspect ratios. Some achieve this through the use of multi-aspect sensors (notably Panasonic), while others simply crop their native image format to have the output match the desired image aspect ratio.

1:1 is the classic Kodak image, and is available as a choice in some digital still cameras, and hearkens back to the days of film cameras when the square image was popular with photographers using twin lens reflex cameras. These medium format cameras used 120 film rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today. Many Polaroid instant films were designed as square formats. Furthermore, up until August 2015, photo-sharing site Instagram only allowed users to upload images in 1:1 format. In 2017, Fujifilm added the 1:1 Instax Square format to their lineup of instant film cameras.

Common in large and medium format photography ("6x7" cameras, actual size 56mm x 70mm), which fits the common print paper size of 8"×10" without cropping and is still in common use for prints from digital cameras.

4:3 is used by most digital point-and-shoot cameras, Four Thirds system, Micro Four Thirds system cameras and medium format 645 cameras. The 4:3 digital format popularity was developed to match the then prevailing digital displays of the time, 4:3 computer monitors.

The next several formats have their roots in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format Advanced Photo System (APS) film camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).

3:2 is used by classic 35 mm film cameras using a 36 mm × 24 mm image size, and their digital derivatives represented by DSLRs. Typical DSLRs come in two flavors, the so-called professional "full frame" (36 mm × 24 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as

When discussing DSLRs and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers Canon and Nikon each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls DX. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor.

The reason for DSLR"s image sensors being the flatter 3:2 versus the taller point-and-shoot 4:3 is that DSLRs were designed to match the legacy 35 mm SLR film, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent of HDTV, which uses a 16:9 image aspect ratio.

Known as APS-H (30.2 mm × 16.7 mm), with the "-H" denoting "High Definition", the 16:9 format is also the standard image aspect ratio for HDTV. 16:9 is gaining popularity as a format in all classes of consumer still cameras which also shoot High Definition (HD) video. When still cameras have an HD video capability, some can also record stills in the 16:9 format, ideal for display on HD televisions and widescreen computer displays.

3:1 is yet another format that can find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:1 format was used for panorama photography. The APS-P panorama standard is the least adhered to any APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the image is much longer than it is tall, in the classic "panorama" style.

Common print sizes in the U.S. (in inches) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27); large format cameras typically use one of these aspect ratios. Medium-format cameras typically have format designated by nominal sizes in centimeters (6×6, 6×7, 6×9, 6×4.5), but these numbers should not be interpreted as exact in computing aspect ratios. For example, the usable height of 120-format roll film is 56mm, so a width of 70mm (as in 6×7) yields an aspect ratio of 4:5 — ideal for enlarging to make an 8×10" portrait. Print sizes are usually defined by their portrait dimensions (tall) while equipment aspect ratios are defined by their landscape dimensions (wide, flipped sideways). A good example of this a 4×6 print (6 inch wide by 4 inch tall landscape) perfectly matches the 3:2 aspect ratio of a DSLR/35 mm, since 6/2=3 and 4/2=2.

For analog projection of photographic slides, projector and screen use a 1:1 aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection technology typically supports vertically oriented images only at a fraction of the resolution of landscape-oriented images. For example, projecting a digital still image having a 3:2 aspect ratio on a 16:9 projector employs 84.3% of available resolution in horizontal orientation, but only 37.5% in vertical orientation.

The 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the American Society of Cinematographers" American Cinematographer Manual (Many widescreen films before the 1970 SMPTE revision used 2.35:1).

Nowak, Arne (October 2010). "Digital Cinema Technologies from the Archive"s Perspective" (PDF). International Federation of Film Archives. p. 4. Retrieved May 16, 2016.

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.

One drawback of this resolution regarding encoding is that the number of lines is not an even multiple of 16, which is a common macroblock size for video codecs. Video frames encoded with 16×16 pixel macroblocks would be padded to 640 × 368 and the added pixels would be cropped away at playback. H.264 codecs have this padding and cropping ability built-in as standard. The same is true for qHD and 1080p but the relative amount of padding is more for lower resolutions such as nHD.

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.

In the mid-2000s, when the digital HD technology and standard debuted on the market, this type of resolution was often referred to by the branded name HDr for short, which had specified it as a minimum resolution for devices to qualify for the certification. However, few screens have been built that use this resolution natively. Most employ 16:9 panels with 768 lines instead (WXGA), which resulted in odd numbers of pixels per line, i.e. 13651/3 are rounded to 1360, 1364, 1366 or even 1376, the next multiple of 16.

FHD (Full HD) is the resolution used by the 1080p and 1080i HDTV video formats. It has a 16:9 aspect ratio and 2,073,600 total pixels, i.e. very close to 2 megapixels, and is exactly 50% larger than 720p HD (1280 × 720) in each dimension for a total of 2.25 times as many pixels. When using interlacing, the uncompressed bandwidth requirements are similar to those of 720p at the same field rate (a 12.5% increase, as one field of 1080i video is 1,036,800 pixels, and one frame of 720p video is 921,600 pixels). Although the number of pixels is the same for 1080p and 1080i, the effective resolution is somewhat lower for the interlaced format, as it is necessary to use some vertical low-pass filtering to reduce temporal artifacts such as interline twitter.

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 is equivalent to a Full HD (1920 × 1080) extended in width by 33%, with an aspect ratio of 64:27 (2.370, or 21.3:9). It is sometimes referred to as "1080p ultrawide" or "UW-FHD" (ultrawide FHD).divide the screen into two 1280 × 1080 screens.

QHD (Quad HD), WQHD (Wide Quad HD),1440p,2560 × 1440 pixels in a 16:9 aspect ratio. The name QHD reflects the fact that it has four times as many pixels as HD (720p). It is also commonly called WQHD, to emphasize it being a wide resolution, although that is technically unnecessary, since the HD resolutions are all wide. One advantage of using "WQHD" is avoiding confusion with qHD with a small q (960 × 540).

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 has a 16:9 aspect ratio, and is exactly four times as many pixels as the 1600 × 900 HD+ resolution. It has been referred to as WQXGA+,QHDQHD+

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.

This resolution has a 12:5 aspect ratio (2.4:1, or 21.6:9; commonly marketed as simply "21:9"). It is equivalent to WQXGA (2560 × 1600) extended in width by 50%, or 4K UHD (3840 × 2160) reduced in height by 26%. This resolution is commonly encountered in cinematic 4K content that has been cropped vertically to a widescreen 2.4:1 aspect ratio. The first monitor to support this resolution was the 37.5-inch LG 38UC99-W. Other vendors followed, with Dell U3818DW, HP Z38c, and Acer XR382CQK. This resolution is referred to as UW4K, WQHD+,UWQHD+, or QHD+,

This resolution, sometimes referred to as 4K UHD or 4K×2K, has a 16:9 aspect ratio and 8,294,400 pixels. It is double the size of Full HD (1920 × 1080) in both dimensions for a total of four times as many pixels, and triple the size of HD (1280 × 720) in both dimensions for a total of nine times as many pixels. It is the lowest common multiple of the HDTV resolutions.

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.

Other resolution with the same 5120-pixel width, which is the lowest common multiple of popular 1024 and 1280, but a different aspect ratio have also been called "5K" and some nominal 5K resolutions are just 4800 pixels wide, which is the lowest common multiple of 960 and 800.

This resolution, sometimes referred to as 8K UHD, has a 16:9 aspect ratio and 33,177,600 pixels. It is exactly double the size of 4K UHD (3840 × 2160) in each dimension for a total of four times as many pixels, and Quadruple the size of Full HD (1920 × 1080) in each dimension for a total of sixteen times as many pixels. 7680 × 4320 was chosen as the resolution of the UHDTV2 format defined in SMPTE ST 2036-1,8K UHDTV system defined in ITU-R BT.2020UHD-2 broadcast standard from DVB.

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.

QVGA resolution is also used in digital video recording equipment as a low-resolution mode requiring less data storage capacity than higher resolutions, typically in still digital cameras with video recording capability, and some mobile phones. Each frame is an image of 320 × 240 pixels. QVGA video is typically recorded at 15 or 30 frames per second. QVGA mode describes the size of an image in pixels, commonly called the resolution; numerous video file formats support this resolution.

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.

Since QVGA is 320 pixels wide and 240 pixels high (aspect ratio of 4:3), the resolution of a WQVGA screen might be 360 × 240 (3:2 aspect ratio), 384 × 240 (16:10 aspect ratio), 400 × 240 (5:3 – such as the Nintendo 3DS screen or the maximum resolution in YouTube at 240p), 428 × 240 (≈16:9 ratio) or 432 × 240 (18:10 aspect ratio). As with WVGA, exact ratios of n:9 are difficult because of the way VGA controllers internally deal with pixels. For instance, when using graphical combinatorial operations on pixels, VGA controllers will use 1 bit per pixel. Since bits cannot be accessed individually but by chunks of 16 or an even higher power of 2, this limits the horizontal resolution to a 16-pixel granularity, i.e., the horizontal resolution must be divisible by 16. In the case of the 16:9 ratio, with 240 pixels high, the horizontal resolution should be 240 / 9 × 16 = 426.6, the closest multiple of 16 is 432.

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.

WQVGA resolutions were commonly used in touchscreen mobile phones, such as 400 × 240, 432 × 240, and 480 × 240. For example, the Hyundai MB 490i, Sony Ericsson Aino and the Samsung Instinct have WQVGA screen resolutions – 240 × 432. Other devices such as the Apple iPod Nano also use a WQVGA screen, 240 × 376 pixels.

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.

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 and the SEGA Dreamcast in 1998,

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).

It is a common resolution among LCD projectors and later portable and hand-held internet-enabled devices (such as MID and Netbooks) as it is capable of rendering websites designed for an 800 wide window in full page-width. Examples of hand-held internet devices, without phone capability, with this resolution include: Spice stellar nhance mi-435, ASUS Eee PC 700 series, Dell XCD35, Nokia 770, N800, and N810.

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.

Originally, it was an extension to the VGA standard first released by IBM in 1987. Unlike VGA – a purely IBM-defined standard – Super VGA was defined by the Video Electronics Standards Association (VESA), an open consortium set up to promote interoperability and define standards. When used as a resolution specification, in contrast to VGA or XGA for example, the term SVGA normally refers to a resolution of 800 × 600 pixels.

The marginally higher resolution 832 × 624 is the highest 4:3 resolution not greater than 219 pixels, with its horizontal dimension a multiple of 32 pixels. This enables it to fit within a framebuffer of 512KB (512 × 210 bytes), and the common multiple of 32 pixels constraint is related to alignment. For these reasons, this resolution was available on the Macintosh LC III and other systems.

DVGA (Double-size VGA) screens have 960 × 640 pixels (3:2 aspect ratio). Both dimensions are double that of HVGA, hence the pixel count is quadrupled.

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".

The wide version of SVGA is known as WSVGA (Wide Super VGA or Wide SVGA),