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Classic television aspect ratio 4:3, and two wider ratios

Widescreen images are displayed within a set of aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than 4:3 (1.33:1).

For TV, the original screen ratio for broadcasts was in 4:3 (1.33:1). Largely between the 1990s and early 2000s, at varying paces in different countries, 16:9 (e.g. 1920×1080p 60p) widescreen displays came into increasingly common use by high definitions.

With computer displays, aspect ratios other than 4:3 (e.g. 1920×1440) are also referred to as "widescreen". Widescreen computer displays were previously made in a 16:10 aspect ratio (e.g. 1920×1200), but nowadays they are 16:9 (e.g. 1920×1080, 2560×1440, 3840×2160).

Film

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History

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Widescreen was first used for The Corbett-Fitzsimmons Fight (1897). This was not only the longest film that had been released to date at 100 minutes, but also the first widescreen film being shot on 63 mm Eastman stock with five perforations per frame.

Widescreen was first widely used in the late 1920s in some short films and newsreels, and feature films, notably Abel Gance's film Napoleon (1927) with a final widescreen sequence in what Gance called Polyvision. Claude Autant-Lara released a film Pour construire un feu (To Build a Fire, 1928) in the early Henri Chrétien widescreen process, later adapted by Twentieth Century-Fox for CinemaScope in 1952.

Conrad Luperti, J. Marvin Spoor, and William S. Adams with the Natural Vision camera

The experimental Natural Vision widescreen process developed by George K. Spoor and P. John Berggren used 63.5 mm film and had a 2:1 aspect ratio. In 1926, a Natural Vision film of Niagara Falls was released.[1][2] In 1927, the Natural Vision process was used in the production of The American a.k.a. The Flag Maker. It was directed by J. Stuart Blackton and starred Bessie Love and Charles Ray, but was never released theatrically.

On May 26, 1929, Fox Film Corporation released Fox Grandeur News and Fox Movietone Follies of 1929 in New York City in the Fox Grandeur process. Other films shot in widescreen were the musical Happy Days (1929) which premiered at the Roxy Theater, New York City, on February 13, 1930, starring Janet Gaynor and Charles Farrell and a 12-year-old Betty Grable as a chorus girl; Song o' My Heart, a musical feature starring Irish tenor John McCormack and directed by Frank Borzage (Seventh Heaven, A Farewell to Arms), which was shipped from the labs on March 17, 1930, but never released and may no longer survive, according to film historian Miles Kreuger (the 35 mm version, however, debuted in New York on March 11, 1930); and the western The Big Trail (1930) starring John Wayne and Tyrone Power, Sr. which premiered at Grauman's Chinese Theatre in Hollywood on October 2, 1930,[3] all of which were also made in the 70 mm Fox Grandeur process.

RKO Radio Pictures released Danger Lights with Jean Arthur, Louis Wolheim, and Robert Armstrong on August 21, 1930 in a 65 mm widescreen process known as NaturalVision, invented by film pioneer George K. Spoor. On November 13, 1930, United Artists released The Bat Whispers directed by Roland West in a 70 mm widescreen process known as Magnafilm. Warner Brothers released Song of the Flame and Kismet (both 1930) in a widescreen process they called Vitascope.

In 1930, after experimenting with the system called Fantom Screen for The Trail of '98 (1928), MGM came out with a system called Realife. MGM filmed The Great Meadow (1930) in Realife. However, it is unclear whether it was released in that widescreen process due to declining interest of the movie-going public.

By 1932, the Great Depression had forced studios to cut back on needless expense and it was not until 1953 that wider aspect ratios were again used in an attempt to stop the fall in attendance due, partially, to the emergence of television in the U.S. However, a few producers and directors, among them Alfred Hitchcock, were reluctant to use the anamorphic widescreen size featured in such formats as Cinemascope. Hitchcock used VistaVision, a non-anamorphic widescreen process developed by Paramount Pictures and Technicolor which could be adjusted to present various flat aspect ratios.[4]

Types

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Masked (or flat) widescreen was introduced in April 1953. The negative is shot exposing the Academy ratio using spherical lenses, but the top and bottom of the picture are hidden or masked off by a metal aperture plate, cut to specifications of the theater's screen, in the projector. Alternatively, a hard matte in the printing or shooting stages may be used to mask off those areas while filming for composition purposes, but an aperture plate is still used to block off the appropriate areas in the theater. A detriment is that the film grain size is thus increased because only part of the image is being expanded to full height. Films are designed to be shown in cinemas in masked widescreen format but the full unmasked frame is sometimes used for television, known as an open matte. In such an instance, a photographer will compose for widescreen, but "protect" the full image from things such as microphones and other filming equipment. Standardized "flat widescreen" ratios are 1.66:1, 1.75:1, 1.85:1, and 2:1. The 1.85:1 aspect ratio has become the predominant aspect ratio for the format.

35 mm anamorphic – This type of widescreen is used for CinemaScope, Panavision, and several other equivalent processes. The film is essentially shot "squeezed", so that the actors appear vertically elongated on the actual film. A special lens inside the projector unsqueezes the image so that it will appear normal. Films shot in CinemaScope or Panavision are usually projected at a 2.39:1 aspect ratio, though the historical aspect ratio can be 2.66:1 (original separate magnetic sound aspect ratio), 2.55:1 (original four-track magnetic sound aspect ratio) or 2.35:1 (original mono optical sound aspect ratio, and much later "stereo variable-area" aspect ratio, also called Dolby Stereo). The negative is usually 2.66:1 or, in rare cases, 2.55:1 or 2.35:1. The sole purpose of the change to 2.39:1 and, later, to 2.40:1, was to better hide so-called "negative assembly" splices (splices employed in the composited camera negative. This was not a production change, rather it was a recommended projection change.)

A Chilean film, Post Mortem, used anamorphic lenses with 16 mm film, to be projected at an ultra-widescreen 2.66:1 for a unique look.[further explanation needed][5][6]

Super gauges – The full negative frame, including the area traditionally reserved for the sound track, is filmed using "full" aperture, which was standard for silent, but also common for most anamorphic negatives. The print is then shrunk and/or cropped in order to fit it back onto release prints, which include a sound track. The aspect ratio for Super 35, for example, can be set to virtually any projection standard.

Large gauge – A 70 mm film frame is not only twice as wide as a standard frame but also has greater height (five perfs versus four perfs). Shooting and projecting a film in 70 mm therefore gives more than four times the image area of non-anamorphic 35 mm film providing a major improvement in image quality. Few major dramatic narrative films have been filmed entirely on this format since the 1970s; the three most recent are Kenneth Branagh's Hamlet, Paul Thomas Anderson's The Master and Quentin Tarantino's The Hateful Eight. For many years, large budget pictures shot anamorphically used reserve stocks of 70 mm film for SFX shots involving CGI or blue-screen compositing as the anamorphic format creates problems with said effects. It has also been used to sometimes strike 70 mm blow-up prints for "roadshow" tours in select cities from the 35 mm camera negative in order to capitalize on the extra sound channels provided. The introduction of digital sound systems and diminishing number of installed 70 mm projectors has made a 70 mm release largely obsolete. However, blowups from 35 mm formats to IMAX have been used for a limited number of blockbuster films.

Paramount's VistaVision was a larger gauge precursor to 70 mm film. Introduced in 1954, it ran standard 35 mm film through the camera horizontally to achieve a widescreen effect using greater negative area, in order to create a finer-grained four-perforation 35 mm prints in an era where standard monopack stock could not produce finer results. Negative frames were eight perforations wide. Eight-perf photography is sometimes used for shooting special effects in order to produce a finer-grained matte that can be used in optical printing without image degradation, and is notable for its use in Lucasfilm's original three Star Wars films, among others. Another similar system with horizontal orientation was MGM's Arnoldscope.[7]

Multiple lens camera/multiple projectors – The Cinerama system originally involved shooting with three lens camera, and projecting the three resulting films on a curved screen with three synchronized projectors, resulting in an ultrawide aspect ratio of 2.89. Later Cinerama movies were shot in 70 mm anamorphic (see below), and the resultant widescreen image was divided into three by optical printers to produce the final threefold prints.

The technical drawbacks of Cinerama are discussed in its own article. Only two narrative feature films, The Wonderful World of the Brothers Grimm and How the West Was Won, were filmed in three-camera Cinerama, and several sequences from the latter were actually filmed in Ultra-Panavision. With the exception of a few films created sporadically for use in specialty Cinerama theaters, the format is effectively obsolete.

A non-Cinerama, three-projector process was pioneered for the final reel of Abel Gance's epic film Napoléon (1927) The process, called Polyvision by Gance, consisted of three 1.33 images side by side, so that the total aspect ratio of the image is 4:1. The technical difficulties in mounting a full screening of the film, however, make most theaters unwilling or unable to show it in this format.

Between 1956 and 1957, the Soviets developed Kinopanorama, which is identical in most respects to the original three-camera Cinerama.

Anamorphic 70 mm – 70 mm with anamorphic lenses, popularly known as "Ultra Panavision" or "MGM Camera 65", creates an even wider high-quality picture. This camera process was used for the remake of Ben-Hur (1959), resulting in an aspect ratio of 2.76:1, one of the widest projected images ever used for a feature film. The 70 mm anamorphic format was not commonly used, due to the very high production costs, although it was favored for epic films such as Ben-Hur in order to capture wide panoramic landscapes and high-budget scenes with thousands of extras and enormous sets. This system is obsolete.

Television

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The original screen ratio for TV broadcasts was 4:3 (1.33:1). This was the same aspect ratio as most cinema screens and films at the time TV was first sold commercially. 1930s and 1940s films in 4:3, such as Gone with the Wind, have always been displayed on television in 4:3, filling the entire frame.

When preparing a film that was originally intended to be displayed in widescreen for TV broadcast the material was often edited with the sides truncated, using techniques such as center cut or pan and scan. Sometimes, in the case of Super 35, the full film negative was shown unmasked on TV (that is, with the hard matte removed). However, this causes the 4:3 image not to be what the director intended the audience to see, and sometimes boom mics, edited out of the shot when the picture is matted, can be visible. Current TVs feature a 16:9 aspect ratio, allowing them to display a 16:9 picture without letterboxing.

An early (1994) Sony widescreen television

Japan saw its first commercially available widescreen TV models in 1992[8] and TV networks began broadcasting in EDTV widescreen in 1995, starting with NTV.[9]

The first widescreen TV sold in the United States was the Thomson Consumer Electronics RCA CinemaScreen, released in 1993.[10] In Europe, the PAL and the French SECAM Standard Definition systems employed higher resolutions than the US NTSC Standard Definition system, which meant the quality issues of letterboxed or matted movies on TV were not as severe.[11] There is also an extension to PAL, called PALplus, which allows specially equipped receivers to display a PAL picture as true 16:9 with a full 576 lines of vertical resolution, provided that the station employs the same system. Standard PAL receivers will receive such a broadcast as a 16:9 image letterboxed to 4:3, with a small amount of color noise in the black bars; this "noise" is actually the additional lines which are hidden inside the color signal. Clear-Vision supports an equivalent widescreen system for NTSC analogue broadcasting.

Despite the existence of PALplus and support for widescreen in the DVB-based digital satellite, terrestrial and cable broadcasts in use across Europe, only Belgium, Ireland, the Netherlands, Austria, Germany, the Nordic countries and the UK have adopted widescreen on a large scale, with over half of all widescreen channels available by satellite in Europe targeting those areas. The UK, in particular, began moving to widescreen with the advent of digital terrestrial television in the late 1990s, and commercials were required to be delivered to broadcasters in widescreen as of 1 July 2000, on their widescreen "C-Day".

Widescreen televisions are typically used in conjunction with Digital, High-Definition Television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources. Digital material is provided to widescreen TVs either in high-definition format, which is natively 16:9 (1.78:1), or as an anamorphically-compressed standard-definition picture. Typically, devices decoding Digital Standard-Definition pictures can be programmed to provide anamorphic widescreen formatting, for 16:9 sets, and formatting for 4:3 sets. Pan-and-scan mode can be used on 4:3 if the producers of the material have included the necessary panning data; if this data is absent, letterboxing or centre cut-out is used.

HD DVD and Blu-ray players were introduced in 2006. Toshiba ceased production of HD DVD players in early 2008. Consumer camcorders are also available in the HD-video format at fairly low prices. These developments will result in more options for viewing widescreen images on television monitors.

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Widescreen

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from Grokipedia
Widescreen is a and display format characterized by an wider than the traditional 4:3 (1.33:1), typically greater than 1.37:1, which allows for a broader horizontal to create more immersive visual experiences on cinema screens and . This format emerged primarily in the early 1950s as Hollywood studios sought to differentiate theatrical presentations from the rise of television, which predominantly used the narrower 4:3 ratio derived from early silent films and the aperture standard established in 1932. Key innovations included the multi-projector system in 1952, which achieved an ultra-wide 2.59:1 ratio using three synchronized 35mm projectors to simulate panoramic vistas, and the anamorphic process introduced by 20th Century Fox in 1953, originally achieving a 2.55:1 (later standardized to 2.35:1) by compressing images horizontally onto standard 35mm film. Subsequent developments standardized widescreen for cinema, with common ratios such as 1.85:1 and 1.66:1 in achieved through masked projector apertures on flat film prints, often shot within the compatible frame for television broadcast. Anamorphic systems like further refined ultra-wide formats, reaching up to 2.39:1 (or 2.76:1 in rare cases like MGM's Camera 65), enabling epic storytelling in films such as Ben-Hur (1959) and Star Wars (1977). In the television era, the 16:9 (1.78:1) became the global HDTV standard in the , balancing compatibility with cinematic widescreen while suiting computer monitors and streaming platforms like , with resolutions such as (Full HD) and 3840×2160 (4K UHD). Today, widescreen remains dominant in entertainment, influencing everything from blockbuster releases to mobile-optimized vertical variants (9:16), though it requires letterboxing or pillarboxing for adaptation to non-native displays.

History

Early Developments

The concept of widescreen cinema originated in the late , paralleling the birth of motion pictures, as inventors sought to enhance visual immersion beyond the narrow frames of early formats. Although Thomas Edison's 35mm film, standardized around 1907 with an of 1.33:1, became the industry norm due to its practicality and cost-effectiveness, early experiments with wider gauges and projection techniques laid the groundwork for later innovations. Among the pioneering efforts was the Cylindrographe, developed by Claude-François Moessard in , recognized as the earliest widescreen projection process, though details on its exact remain sparse. This was followed by the , invented by Herman Casler in , which utilized 68mm to produce images approximately four times the area of standard 35mm, with an of 2.75 by 2 inches; it debuted publicly with footage of the Henley Regatta. In 1900, Raoul Grimoin-Sanson's Cineorama (or Cinecosmorama) pushed boundaries further by employing ten synchronized 70mm projectors to create a 360-degree panoramic experience on a 100-meter perimeter screen, briefly demonstrated at the Exposition but shut down after a few days due to a caused by the heat from the projectors, limiting it to non-narrative travelogues. The marked a surge in widescreen experimentation amid the era's prosperity, driven by desires for spectacle to compete with and emerging technologies. George W. Bingham's Widescope (1921) employed a double-lens system with dual 35mm films and projectors to achieve wider compositions, while Paramount's Magnascope (1926), developed by Lorenzo Del Riccio, used a variable to expand the up to four times the standard during climactic scenes, as seen in films like Old Ironsides (1926) and Wings (1927). Abel Gance's Polyvision process (1927) innovated with a of three 35mm projectors forming a triple-wide screen, most famously in Napoléon (1927), which achieved an effective of about 3.8:1 in its finale to evoke epic scale. Larger film gauges also gained traction briefly, such as Henri Chrétien's Hypergonar (1928), an anamorphic lens system that squeezed wide images onto standard 35mm film for ratios up to 2:1, featured in shorts like Pour Construire un Feu. Wide-film formats included Magnafilm (1929), a 56mm process with a 2:1 ratio used in films like The Rogue Song (1930), and Fox's Grandeur (1929), using 70mm stock for films like Happy Days and The Big Trail (1930), which offered resolutions far superior to 35mm but required expensive theater modifications. The Lumière brothers experimented with 75mm film in the early 1900s, though their focus shifted to still photography. Despite these advances, widespread adoption stalled due to the high costs of new equipment, lack of standardization, and the onset of the in 1929, which curtailed studio investments. The transition to sound films further prioritized audio over visual width, relegating widescreen to novelty status until economic pressures from revived interest in the .

1950s Widescreen Boom

The 1950s widescreen boom in cinema emerged as a direct response to the rapid growth of television, which had drawn audiences away from theaters and threatened Hollywood's dominance following World War II. By 1952, U.S. television ownership had surged to over 17 million sets, reducing annual cinema attendance from 90 million weekly viewers in 1948 to about 46 million by 1953. Studios sought to differentiate theatrical experiences through expansive visuals and enhanced spectacle, leveraging wider aspect ratios compared to television's standard 4:3 (1.33:1) format. This innovation not only aimed to recapture viewers but also aligned with broader technical advances like color and stereophonic sound to create an immersive alternative to home entertainment. The era's first major breakthrough was , unveiled in 1952 with the documentary-style film This Is Cinerama, directed by . This system employed three synchronized 35mm cameras to capture a panoramic view, projected onto a deeply curved screen spanning up to 146 degrees for a wraparound effect, accompanied by six-track . Despite its technical complexity and high installation costs—requiring specialized theaters—Cinerama proved a sensation, grossing over $90 million worldwide and inspiring further experimentation. However, its logistical challenges limited widespread adoption, paving the way for more practical formats. In 1953, 20th Century Fox revolutionized the industry with CinemaScope, the first commercially viable anamorphic widescreen process, debuting in the biblical epic The Robe, directed by Henry Koster. This technology used special lenses to squeeze a wide image onto standard 35mm film, which was then unsqueezed during projection to achieve a 2.35:1 aspect ratio, nearly double the width of pre-widescreen films. CinemaScope's affordability and compatibility with existing equipment led to rapid proliferation; by 1954, over 500 theaters were equipped, and it influenced subsequent releases like How to Marry a Millionaire (1953). The format's success prompted competitors to develop alternatives, including Paramount's VistaVision in 1954—a high-resolution horizontal 35mm system projected at ratios up to 1.85:1, as seen in White Christmas—and American Optical's Todd-AO, a 70mm large-format process introduced in 1955 with Oklahoma!, offering a 2.2:1 ratio for superior clarity and depth.
FormatIntroduction YearKey FeaturesAspect RatioNotable Film Example
1952Three-projector system, curved screen~2.59:1This Is Cinerama (1952)
CinemaScope1953Anamorphic 35mm lenses2.35:1 (1953)
1954Horizontal 35mm for higher resolution1.85:1–2:1White Christmas (1954)
195565mm negative, 70mm print2.2:1Oklahoma! (1955)
These innovations collectively transformed production practices, with widescreen becoming the norm for major Hollywood releases by the mid-1950s; for instance, MGM's Ben-Hur (1959) utilized a variant to deliver grand-scale action sequences. While initial costs were high—CinemaScope conversions alone exceeded $10 million industry-wide—the boom boosted attendance by an estimated 20% in equipped theaters and established widescreen as a lasting standard, influencing genres from epics to musicals. By the decade's end, over 80% of U.S. films were produced in widescreen formats, solidifying cinema's competitive edge against television.

Digital and Modern Era

The transition to digital formats in the late 20th and early 21st centuries marked a pivotal evolution in widescreen technology, aligning television and cinema more closely with wider aspect ratios. In the 1980s, engineers at the Society of Motion Picture and Television Engineers (SMPTE) and the International Telecommunication Union (ITU) developed the 16:9 aspect ratio (approximately 1.78:1) as a compromise between traditional 4:3 television screens and cinematic formats like 1.85:1 and 2.39:1, aiming to future-proof broadcasting for high-definition video. This ratio was formally recommended by the ITU in the mid-1990s as the standard for high-definition television (HDTV), facilitating the shift from analog 4:3 broadcasts to widescreen digital signals. By the late 1990s, countries like the UK mandated widescreen production for digital terrestrial television, accelerating global adoption. The introduction of consumer digital media further entrenched widescreen standards. Digital Versatile Discs (DVDs), launched in 1996, supported native 16:9 anamorphic encoding, allowing films to preserve their original aspect ratios without the cropping or letterboxing compromises common in VHS pan-and-scan releases. This was complemented by the rise of HDTV broadcasting in the early , where resolutions like pixels became standard, enabling seamless widescreen display on flat-panel televisions that largely phased out 4:3 models by the early . In parallel, digital cinema transformed projection practices; the (DCI), a consortium of major studios founded in March 2002, established specifications for digital projectors and distribution in 2005, supporting widescreen ratios up to 2.39:1 at (4096×2160 pixels). By the early , over 90% of global cinema screens had converted to digital systems, reducing costs and enabling consistent widescreen presentation without film splicing. By 2023, digital projection had reached nearly 100% of global cinema screens. Modern developments have expanded widescreen immersion through higher resolutions and specialized formats. In 2008, introduced its first digital projection system, using dual 2K projectors to achieve a 1.90:1 on large screens, later upgraded to 4K laser systems in 2014 for brighter, higher-contrast widescreen images, with over 1,500 locations worldwide by 2025. Streaming platforms, proliferating since the mid-2010s, default to 16:9 for television content while accommodating cinematic ratios via metadata, ensuring widescreen preservation across devices. Ultra-high-definition (UHD) standards, such as 4K (3840×2160) adopted by the ITU in 2012, have further refined widescreen viewing, with 8K UHD (7680×4320) standardized under BT.2020 for enhanced detail while maintaining 16:9, and average television sizes exceeding 45 inches by 2016. These advancements prioritize maintaining artistic intent in widescreen compositions, bridging historical with accessible digital consumption.

Aspect Ratios and Formats

Common Widescreen Ratios

Widescreen aspect ratios refer to the proportional relationship between the width and height of an image that exceeds the traditional 4:3 (1.33:1) standard, typically offering a more immersive viewing experience in cinema and television. These ratios are standardized to ensure compatibility across production, distribution, and display systems. The most prevalent widescreen ratios in modern use are 1.66:1, 1.85:1, 1.78:1 (commonly expressed as 16:9), and 2.39:1, each tailored to specific media formats and regional preferences. In cinema, the 1.85:1 , often called "flat," is widely used for theatrical projections in , where films are composed to fit within a projector aperture of approximately 0.825 inches by 0.446 inches on 35mm . This provides a balanced widescreen frame without anamorphic squeezing, allowing for straightforward non-anamorphic projection. It was established as a standard in the to compete with and is defined by SMPTE 195-2007 for projector characteristics. The 2.39:1 ratio, known as "scope" or , is another cornerstone of cinematic presentation, particularly for epic or visually expansive films. It utilizes an anamorphic lens to compress the image horizontally during filming and expand it during projection, resulting in a wider from a standard 35mm frame. The aperture for this format measures about 0.825 inches by 0.700 inches, and it has been the preferred choice for blockbusters since the era, with SMPTE 195-2007 specifying its image area. For and video, the dominates as the global standard for high-definition broadcasting and consumer displays. It represents a compromise between cinematic formats and legacy television, offering a width-to-height proportion of 16 units to 9 units, commonly implemented at resolutions like pixels. This was formalized in SMPTE ST 274:2008 for scanning structures in HDTV production. In some European markets, the 1.66:1 serves as an alternative widescreen standard for theatrical releases, providing a slightly narrower frame than 1.85:1 but wider than 16:9. It aligns closely with the 5:3 proportion and is used in countries like and for non-anamorphic films, often fitting within projector apertures similar to those for 1.85:1 but masked to a lesser width. This format gained traction in the post-1950s widescreen transition and remains recognized in SMPTE guidelines for international projection.
Aspect RatioCommon UseKey StandardApproximate Dimensions (35mm Projector Aperture, where applicable)
1.66:1European cinema (flat)SMPTE 195-20070.825" × 0.497"
1.85:1North American cinema (flat)SMPTE 195-20070.825" × 0.446"
16:9 (1.78:1)HDTV, video, home entertainmentSMPTE ST 274:2008N/A (digital: e.g., 1920×1080 pixels)
2.39:1Global cinema (scope/anamorphic)SMPTE 195-20070.825" × 0.700" (with 2:1 squeeze)
These ratios facilitate "shoot-and-protect" techniques in production, where content is in a wider frame to allow safe cropping for multiple output formats without losing essential action.

Film Formats

Widescreen formats encompass a variety of technical processes developed to achieve aspect ratios wider than the traditional 1.37:1 , primarily to enhance visual immersion in cinema. These formats emerged in response to the need for larger, more panoramic images, with significant innovations occurring from the late onward, though widespread adoption followed the boom driven by competition from television. Key methods include anamorphic compression, wide-gauge , and multi-projector systems, each offering distinct trade-offs in resolution, cost, and projection complexity. Early widescreen experiments laid the groundwork for later formats. In 1896, the Biograph projector utilized 68mm , providing an image area four times larger than standard 35mm, which allowed for a wider frame without anamorphic distortion. Similarly, the 1897 Veriscope process employed 63mm film for the Corbett-Fitzsimmons boxing match, achieving a 1.65:1 on 63mm Eastman nitrate stock. These pioneering efforts demonstrated the feasibility of wide-film projection but were limited by high costs and logistical challenges during the silent era. The 1950s marked a pivotal era for widescreen formats, with debuting in 1952 as a multi-projector system using three synchronized 35mm cameras and projectors to create a 2.59:1 across a curved screen spanning a 146° , accompanied by seven-channel . This immersive setup, while groundbreaking for spectacle films like This Is Cinerama, required extensive theater modifications and was prone to visible seams at the image joins. In contrast, , introduced by 20th Century Fox in 1953, popularized anamorphic photography on standard 35mm , squeezing the image horizontally by a 2x factor during capture and unsqueezing it via projection lenses to yield an initial 2.55:1 ; its debut in revolutionized Hollywood production by enabling widescreen without new equipment for theaters. Non-anamorphic alternatives emerged to address CinemaScope's optical distortions, such as VistaVision, developed by Paramount in 1954. This process ran 35mm film horizontally through the camera at eight perforations per frame, doubling the image area for higher resolution and reduced grain, with a native 1.5:1 aspect ratio that could be cropped to 1.85:1 or wider during printing and projection; it required no special lenses, making it versatile for visual effects, as seen in films like White Christmas and later Vertigo. Todd-AO, launched in 1955, utilized 65mm negative film printed to 70mm for projection, achieving a 2.2:1 aspect ratio at 30 frames per second, which provided superior image quality for epics such as Oklahoma! while allowing compatibility with 35mm anamorphic prints. Later developments built on these foundations, with refining anamorphic lenses in the 1950s and beyond to improve CinemaScope's squeeze ratio and reduce aberrations, becoming the industry standard for 2.39:1 productions. Wide-gauge formats like , introduced in the , employed 65mm film run horizontally at 15 perforations per frame—ten times the area of standard 35mm—for a (or taller in some configurations), emphasizing vertical scale for documentaries and blockbusters. By the 2010s, revivals such as used 65mm anamorphic film for extreme 2.76:1 ratios in films like . These formats prioritized conceptual immersion over exhaustive metrics, influencing transitions while preserving analog legacies.
FormatYear IntroducedFilm GaugeAspect RatioKey FeaturesExample Films
Cinerama19523x 35mm2.59:1Multi-projector, curved screen, 7-channel soundThis Is Cinerama
CinemaScope195335mm2.55:1Anamorphic squeeze (2x), magnetic stereo soundThe Robe
VistaVision195435mm (horizontal)1.5:1–2:18-perf horizontal run, high resolution for VFXWhite Christmas, Vertigo
Todd-AO195565mm/70mm2.2:1Wide-gauge, 30 fps, blow-up to 35mm anamorphicOklahoma!
IMAX1970s65mm/70mm1.43:115-perf horizontal, massive frame areaIMAX documentaries
Ultra Panavision 702015 revival65mm2.76:1Anamorphic on wide-gauge, extreme widthThe Hateful Eight

Television and Video Formats

In the early days of television broadcasting, the standard aspect ratio was 4:3 (1.33:1), established by the National Television System Committee (NTSC) in 1941 for analog systems in and adopted similarly in PAL and standards worldwide. This format matched the used in early cinema and provided a square-like frame suitable for black-and-white and early color transmissions. Widescreen formats began emerging in the 1980s as enhancements to standard-definition (SD) video, with the (ITU) amending Recommendation BT.601—the foundational standard for component —to include 16:9 (1.78:1) support for SD productions. This amendment allowed for horizontal anamorphic compression, enabling broadcasters to transmit widescreen content within the existing 4:3 frame while preserving image quality during the transition period. The adoption of 16:9 as the widescreen standard accelerated with (HDTV) in the 1990s, selected as a geometric compromise between the 4:3 TV format and common cinematic ratios like 1.85:1 and 2.39:1 to minimize letterboxing or pillarboxing on displays. The Society of Motion Picture and Engineers (SMPTE) formalized this in ST 274:2008, which specifies the pixel image sample structure, digital representation, and timing for multiple picture rates in 16:9 HDTV formats, supporting progressive and interlaced scans at rates such as 24, 25, 30, 50, and 60 Hz. Complementing this, BT.1120 defines digital interfaces for studio signals, confirming 16:9 as the native for HDTV production and distribution. To facilitate compatibility during the shift from 4:3 to 16:9, BT.1379 establishes safe action and safe title areas, recommending a 14:9 intermediate framing for mixed productions to ensure key content remains visible across both formats without cropping. In home video formats, widescreen support evolved from letterboxed analog tapes to digital anamorphic encoding. The VHS format, dominant in the 1980s and 1990s, accommodated widescreen through non-anamorphic letterboxing within its 4:3 frame, resulting in reduced vertical resolution for films like those in 1.85:1 or 2.39:1. The DVD-Video specification, introduced in 1996, advanced this by natively supporting 16:9 at 720 × 480 () or 720 × 576 (PAL) resolutions, where the image is horizontally compressed during encoding and expanded by compatible players for display on widescreen TVs, preserving full resolution. Blu-ray Disc, launched in 2006, builds on this with uncompressed or lightly compressed 16:9 HD video as the standard, allowing pillarboxed or letterboxed presentation of wider cinematic ratios without quality loss, and extending to 4K UHD at 3840 × 2160 in 16:9 for modern players. Contemporary video formats, including streaming and digital file-based delivery, universally prioritize 16:9 as the baseline widescreen ratio for compatibility across devices. Platforms like those using H.264 or H.265 codecs encode 16:9 content at various bitrates, with metadata flags indicating for proper rendering, ensuring seamless playback on smart TVs, mobiles, and monitors while supporting variable ratios through black bars. This standardization has made 16:9 the format for over 95% of global television and video consumption since the early .

Applications

Cinema

In cinema, widescreen refers to any with an wider than the traditional of 1.37:1, typically ranging from 1.66:1 to 2.76:1 or more, designed to provide a more immersive viewing experience by expanding the horizontal . This approach allows filmmakers to capture broader landscapes, enhance epic scopes in action sequences, and create a sense of grandeur that distinguishes theatrical presentations from narrower television formats. The adoption of widescreen in the mid-20th century was driven by the need to compete with rising television popularity, leading to innovations in and that prioritized visual spectacle. Key techniques for achieving widescreen in cinema include non-anamorphic "flat" projection, where the standard 35mm frame is masked during projection to yield ratios like 1.85:1 in North America or 1.66:1 in Europe, preserving full vertical resolution without optical distortion. Anamorphic processes, pioneered by CinemaScope in 1953, use special lenses to horizontally squeeze the image onto 35mm film during capture, which is then unsqueezed during projection to achieve ratios such as 2.35:1 or 2.39:1, enabling wider compositions while utilizing existing film infrastructure. Larger 70mm formats, like Todd-AO (introduced 1955 at 2.20:1) and Ultra Panavision 70 (1957 at 2.76:1), employ unsqueezed wide film stock for superior image quality and detail, often reserved for prestige productions. These methods, exemplified in films such as The Robe (1953, first CinemaScope release) and Lawrence of Arabia (1962, Super Panavision 70), allow directors to frame scenes with greater environmental context, influencing blocking, camera movement, and narrative pacing. In the digital era, widescreen cinema has standardized under (DCI) specifications, supporting 1.85:1 and 2.39:1 as primary theatrical ratios using 2K or 4K projectors, which eliminate and enable consistent global distribution. Formats like , originating in the 1970s with 15/70mm film at approximately 1.43:1 to 1.90:1, have evolved to digital variants with expanded ratios up to 1.90:1, emphasizing vertical extension for immersive effects in blockbusters such as Dunkirk (2017). These advancements maintain widescreen's core application: optimizing the theatrical environment for emotional and spatial engagement, with aspect ratios selected based on genre—wider for spectacles, narrower for intimate dramas—while ensuring compatibility with post-production workflows.

Television Broadcasting

Television broadcasting initially adhered to the 4:3 aspect ratio, established to align with the Academy standard prevalent in early cinema. In the United States, the National Television System Committee (NTSC) formalized this ratio in its 1941 standard for black-and-white analog transmissions, specifying 525 scan lines with a 4:3 frame to ensure compatibility across receivers and cameras. This format dominated global analog broadcasting for decades, including PAL and SECAM systems in Europe and elsewhere, prioritizing square-like proportions suited to cathode-ray tube (CRT) technology and early content production. The shift to widescreen in television arose during the development of (HDTV) in the , driven by the need for more immersive visuals to compete with cinema and accommodate advancing display technologies. In 1984, Kerns H. Powers, a member of the Society of Motion Picture and Television Engineers (SMPTE) Working Group on High-Definition Electronic Production, proposed the 16:9 (approximately 1.78:1) as a practical compromise between common film formats like 1.85:1 and 2.39:1, balancing artistic appeal with technical feasibility for broadcast. This ratio expands the horizontal field by about 33% over 4:3, enhancing spatial representation in genres such as and , while aligning with human estimates of 130 degrees horizontally. In , the (EBU) played a pivotal role in promoting 16:9 through technical recommendations and production guidelines. The EBU's Technical Recommendation R 95, first issued in 1995 and revised in 2000, defined safe areas for 16:9 television production to ensure essential action and graphics remained visible across displays, including transitional 14:9 compromise formats. Complementing this, the European Union's 16:9 Action Plan, adopted in 1993 via Council Decision 93/424/EEC, aimed to accelerate the rollout of advanced widescreen services by funding R&D, standardizing equipment, and encouraging broadcasters to produce 16:9 content, marking a coordinated push toward digital widescreen adoption across member states. By the late , European broadcasters like the began transmitting widescreen programs, leveraging compression for 625-line PAL systems enhanced to support 16:9 anamorphic encoding. In the United States, the Advanced Television Systems Committee (ATSC) integrated 16:9 into its framework as part of the HDTV transition. The ATSC A/53 standard, finalized in 1995 and approved by the (FCC) on December 24, 1996, specified 16:9 for high-definition formats such as 1920×1080 interlaced () at 60 fields per second and 1280×720 progressive () at 60 frames per second, using video coding at bit rates up to 19.39 Mbps for 8-VSB terrestrial transmission. Standard-definition (SDTV) options like 704×480 also supported 16:9, allowing broadcasters flexibility during the analog-to-digital phase-out. The first ATSC HDTV broadcasts occurred in 1998, with full mandatory adoption following the analog signal termination on June 12, 2009, converting over 1,700 stations to digital 16:9-capable signals. Globally, widescreen broadcasting in 16:9 relies on signaling mechanisms to handle mixed content legacies. Active Format Description (AFD), standardized by SMPTE ST 2016-1 in 2007 and incorporated into ATSC A/53 amendments, embeds metadata in the video stream to indicate the active picture's aspect ratio—such as full-frame 16:9 (AFD code 10) or letterboxed 4:3 (AFD code 02)—enabling receivers to pan, scan, or pillarbox appropriately without distortion. This facilitates seamless transmission of cinematic widescreen films (e.g., 1.85:1 or 2.39:1) on 16:9 channels via letterboxing, while sports and news productions exploit the full width for dynamic framing, as seen in EBU-guided events like UEFA matches. By the 2010s, 16:9 became the de facto global standard for HD and UHD broadcasting under ITU-R BT.709 and BT.2020 recommendations, supporting resolutions up to 3840×2160 while maintaining the aspect ratio for consistent viewer immersion.

Home Entertainment

In home entertainment, widescreen formats emerged as a way to replicate the cinematic experience on consumer devices, initially facing challenges due to the prevalence of 4:3 aspect ratio televisions. Early home video systems like VHS, introduced in the late 1970s, predominantly offered pan-and-scan versions of films to fill the square screen, cropping widescreen content and altering compositions. However, letterboxing—black bars at the top and bottom to preserve the original aspect ratio—began appearing in niche releases. The first notable widescreen home video was Federico Fellini's Amarcord (1973) in 1.85:1 on Capacitance Electronic Disc (CED) in 1984, released by The Criterion Collection, which championed original aspect ratios (OAR) for purists despite lower resolution limits of the era. The format in the 1980s and early 1990s became a haven for widescreen enthusiasts, offering sharper analog video and full support compared to 's 333×480 resolution, though adoption remained limited to audiophiles due to high costs and player scarcity. By the early 1990s, widescreen tapes gained traction, particularly in the UK starting in 1992, allowing viewers to choose between letterboxed editions and fullscreen alternatives. The DVD's launch in 1996 revolutionized home entertainment by standardizing widescreen support, enabling anamorphic encoding that stretched letterboxed images to fill 4:3 screens without distortion, and providing for compatible displays. Directors like advocated for letterboxing in 1990, emphasizing its fidelity to artistic intent, while consumer resistance persisted over perceived "lost" screen space. The transition to 16:9 widescreen televisions, developed in the 1980s by SMPTE engineer Kerns H. Powers as a versatile high-definition standard, accelerated in the mid-2000s with HD adoption. By 2000–2003, major UK broadcasters like the switched to 16:9 programming, paving the way for global standards. Blu-ray Discs, introduced in 2006, delivered 1920×1080 resolution in OAR, eliminating letterboxing needs for 16:9 content and supporting Ultra HD 4K (3840×2160) by 2011. Today, 16:9 dominates home viewing via streaming services like , which produce most original content in this ratio, and smart TVs averaging 45 inches by 2016—up from 25–27 inches in 1990—making widescreen the default for immersive experiences.

Computing and Mobile Devices

In computing, widescreen displays began gaining traction in the late 1990s and early 2000s with the shift from cathode-ray tube (CRT) to liquid crystal display (LCD) technology, which enabled slimmer, larger screens suitable for wider aspect ratios. Prior to this, standard computer monitors predominantly used 4:3 ratios, but the introduction of 16:10 (1.6:1) emerged as the first widely adopted widescreen format for PCs, offering additional vertical space ideal for productivity tasks like document editing and coding. This ratio became prevalent in laptops by the early 2000s and overtook 4:3 in standalone monitors by 2005–2008, capturing up to 90% of the notebook market due to its balance between horizontal viewing for multimedia and vertical real estate for applications. The 16:9 (1.78:1) ratio, originally standardized for (HDTV) in the 1990s, gradually supplanted 16:10 in by the late , driven by falling costs of 16:9 panels and alignment with consumer video content. By 2009, 16:9 had become the dominant format for both televisions and computer monitors, with common resolutions like (Full HD) facilitating seamless integration of video playback and gaming. However, 16:10 has seen a resurgence since 2020, particularly in professional laptops and portable monitors, as manufacturers prioritize enhanced productivity; for instance, it provides about 10% more vertical pixels than 16:9 at the same width, benefiting web browsing and multi-window workflows without letterboxing issues in non-video applications. In mobile devices, widescreen adoption mirrored computing trends but evolved toward taller ratios to optimize one-handed use and immersive viewing. Early smartphones, such as the 2007 (3:2 ratio), transitioned to 16:9 by 2011–2012 with models like the Samsung Galaxy Nexus and , aligning with HD video standards and enabling higher resolutions like 1920×1080. This format dominated through the mid-2010s, but by 2017, manufacturers introduced taller ratios—such as 18:9 on the (2880×1440) and 18.5:9 on the (2960×1440)—to increase screen real estate within narrower bodies, reducing bezels and improving multitasking without widening the device. Contemporary smartphones (as of 2025) commonly feature even taller ratios like 19.5:9 or 20:9, with examples including 2340×1080 on mid-range devices, enhancing vertical scrolling for and reading while maintaining compatibility with 16:9 media via software cropping. These shifts prioritize user and content consumption, though they can introduce challenges like black bars in legacy 16:9 videos.

References

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