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Ultrawide formats
Photo and video display formats From Wikipedia, the free encyclopedia
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Ultrawide formats refers to photos, videos,[1] and displays[2] with aspect ratios greater than 2. There were multiple moves in history towards wider formats, including one by Disney,[3] with some of them being more successful than others.
 | This article needs additional citations for verification. (June 2023) |
Cameras usually capture ultra-wide photos and videos using an anamorphic format lens, which shrinks the extended horizontal field-of-view (FOV) while saving on film or disk.[4]
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Historic Ultrawide Cinema
Historically ultrawide movie formats have varied between ~2.35 (1678:715), ~2.39 (1024:429) and 2.4. To complicate matters further, films were also produced in following ratios: 2.55, 2.76 and 4. Developed by Rowe E. Carney Jr. and Tom F. Smith, the Smith-Carney System used a 3 camera system, with 4.6945 (1737:370) ratio, to project movies in 180°.[5] Disney even created a 6.85 ratio, using 5 projectors to display 200°. The only movie filmed in Disney's 6.85 ratio is Impressions de France.[3]
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Wide aspect ratios
Suggested by Kerns H. Powers of SMPTE in USA, the 16:9 aspect ratio was developed to unify all other aspect ratios. Subsequently it became the universal standard for widescreen and high-definition television.
Around 2007, cameras and non-television screens began to switch from 15:9 (5:3) and 16:10 (8:5) to 16:9 resolutions.
Extra-wide aspect ratios
Univisium is an aspect ratio of 2:1, created by Vittorio Storaro of the American Society of Cinematographers (ASC) originally intended to unify all other aspect ratios used in movies.
It is popular on smartphones and cheap VR[clarification needed] displays. VR displays halve the screen into two, one for each eye. So a 2:1 VR screen would be halved into two 1:1 screens. Smartphones began moving to this aspect ratio since late 2010s with the release of Samsung Galaxy S8, advertised as 18:9.
Ultra-wide aspect ratios
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21:9 is a consumer electronics (CE) marketing term to describe the ultra-widescreen aspect ratio of 64:27 (211⁄3:9) = 1024:432 for multiples of 1080 lines. It is used for multiple anamorphic formats and DCI 1024:429 (21.482517:9), but also for ultrawide computer monitors, including 43:18 (211⁄2:9) for resolutions based on 720 lines and 12:5 (213⁄5:9) for ultrawide variants of resolutions based either on 960 pixels width or 900 lines height.
The 64:27 aspect ratio is the logical extension of the existing video aspect ratios 4:3 and 16:9. It is the third power of 4:3, whereas 16:9 of widescreen HDTV is 4:3 squared. This allows electronic scalers and optical anamorphic lenses to use an easily implementable 4:3 (1.33) scaling factor.
21:9 movies usually refers to 1024:429 ≈ 2.387, the aspect ratio of digital ultrawide cinema formats, which is often rounded up to 2.39:1 or 2.4:1
Ultrawide resolution can also be described by its height, such as "UW 1080" and "1080p ultrawide" both stands for the same 2560×1080 resolution.
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Super-wide aspect ratios
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In 2016, IMAX announced the release of films in Ultra-WideScreen 3.6 format,[6][failed verification] with an aspect ratio of 18:5 (36:10).[7] A year later, Samsung and Phillips announced 'super ultra-wide displays', with aspect ratio of 32:9, for "iMax-style cinematic viewing".[8] Panacast developed a 32:9 webcam with three integrated cameras giving 180° view, and resolution matching upcoming 5K 32:9 monitors, 5120x1440.[9] In 2018 Q4, Dell released the U4919DW, a 5K 32:9 monitor with a resolution of 5120x1440, and Phillips announced the 499P9H with the same resolution. 32:9 Ultrawide monitors are often sold as an alternative to dual 16:9 monitor setups and for more inmersive experiences while playing videogames, and many are capable of displaying 2 16:9 inputs at the same time.
32:9 aspect ratio is derived from 16:9 being twice as large. Some manufacturers therefore refer to the resulting total display resolution with a D prefix for dual or double.
Super wide resolutions refers to that with aspect ratio greater than 3.
Ultra-WideScreen 3.6 video never spread, as cinemas in an even wider ScreenX 270° format were released.[10]
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4:1 (36:9)
Abel Gance experimented with ultrawide formats including making a film in 4:1 (36:9). He made a rare use of Polyvision, three 35 mm 1.3 images projected side by side in the 1927 film Napoléon.
AT NAB 2019, Sony introduced a 19.2-metre-wide by 5.4-metre-tall commercial 16K display.[11][12] It is made up of 576 modules (48 by 12) each 360 pixels across, resulting in a 4:1, 17280x4320p screen.
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Multi-Screen Theaters
Developed by CJ CGV in 2012, ScreenX uses three (or more) projectors to display 270° content,[10] with an unknown aspect ratio above 4. Walls on both sides of a ScreenX theatre are used as projector screens.
Developed by Barco N.V. in 2015, Barco Escape used three projectors of 2.39 ratio to display 270° content, with an aspect ratio of 7.17. The two side screens were angled at 45 degree in order to cover peripheral vision. Barco Escape shut down in February 2018.
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Comparison
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See also
References
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