Ultra-wide or Ultrawide formats refers to photos, videos, and displays, with aspect ratios significantly wider than 2:1. There were multiple moves in history, towards a wider display aspect ratio, including one by Disney. Some moves were successful, while others saw limited success.
- 1 Historic displays
- 2 Modern displays
- 3 Comparison
- 4 See also
- 5 References
NTSC (National Television Standards Committee) broadcasts were analogue and intended for analogue NTSC displays. It was developed and implemented by the NTSC in the United States in 1954. It also saw widespread international adoption by trade partners of the US. When converted to the Digital Video format, DV, NTSC has a 3:2 aspect ratio, a resolution of 720x480i, and a refresh rate of 60 Hz.
PAL (Phase Alternating Line) broadcasts were analogue broadcasts, meant for PAL analogue displays. It was developed in 1967 by United Kingdom & Germany, and implemented is most countries. When converted to Digital Video format, DV PAL has a 5:4 resolution of 720×576i running at 50 Hz.
32:27 was originally developed for compressed video storage in cameras, meant to be displayed in anamorphic x1.5 as 16:9. 640×540i was such a 32:27 resolution running at 50 Hz and 100 Hz, meant for cameras.
Panasonic's DVCPRO HD with a resolution of 1280×1080i was latest in the line of 32:27 video formats for cameras. Hitachi's 42" and 50" 1280×1080i televisions, like the P50T501, were the last line of 32:27 consumer displays.
32:27 is derived from 4:3 aspect ratio.
Historic Ultrawide Cinema
Historically ultrawide movie formats have varied between ~2.35:1 (1678:715), ~2.39:1 (1024:429) and 2.4:1. To complicate matters further, films were also produced in 2.55:1, 2.76:1 and 4:1. Developed by Rowe E. Carney Jr. and Tom F. Smith, the Smith-Carney System used a 3 camera system, with 4.6945:1 (1737:370) ratio, to project movies in 180°.  Disney even created a 6.85:1 format, using 5 projectors to display 200°. The only movie filmed in Disney's 6.85:1 format is Impressions de France.
European widescreen format was a 5:3 (15:9) resolution of 800x480 and 1280x768 with progressive scan. Developed in 1969 by Rune Ericson, Super 16 mm was widely used in Europe, before the move to 16:9.
Suggested by Dr. Kerns H. Powers of SMPTE in USA, the 16:9 aspect ratio was developed to unify all other aspect ratios. 16:9 was first adopted in the USA.
16:9 aspect ratio is 4:3 squared.
Around 2007, cameras and screen began to switch from 15:9 and 16:10 to 16:9 resolutions. Aspect ratio of 16:9 is currently the worldwide standard for 'widescreen' and HDTV.
Univisium is an aspect ratio of 2:1, created by Vittorio Storaro of ASC in USA, to unify all other aspect ratios. It is popular on Smartphones and cheap VR displays. VR displays half the screen into two, one for each eye. So a 2:1 VR screen would be halved into two 1:1 screens. Currently smartphones are moving to 2:1 aspect ratio, advertised as 18:9.
21:9 is a consumer electronics (CE) marketing term to describe the ultra-widescreen aspect ratio of 64:27 (2.370:1). It is used for multiple anamorphic formats and DCI 1024:429 (21.482517:9), but also for ultrawide computer monitors, including 43:18 (21.5:9) and 12:5 (21.6:9).
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 (1.33:1) scaling factor.
21:9 movies usually refers to 1024:429, the aspect ratio of modern ultrawide cinema format, which is often rounded up to 2.39:1 or 2.4:1.
|list of ultrawide monitor resolutions|
|Common Name||Technical name||Aspect ratio||Decimal value||Resolution|
|UW 1800||ultrawide 1800||12:5||2.4||4320×1800|
|UW 5K||ultrawide 2400||12:5||2.4||5760×2400|
|UW 6K||ultrawide 2880||43:18||2.38||6880×2880|
|UW 10K||ultrawide 4320||64:27||2.370||10240x4320|
In 2016, IMAX announced the release of films in 'Ultra-WideScreen 3.6' format, with an aspect ratio of 18:5 (36:10). A year later, Samsung and Phillips announced 'super ultra-wide displays', with aspect ratio of 32:9, for "iMax-style cinematic viewing". Panacast developed a 32:9 webcam with three integrated cameras giving 180° view, and resolution matching upcoming 5K 32:9 monitors, 5120x1440. In 2018 Q4, Dell released U4919DW, a 5K 32:9 monitor with a resolution of 5120x1440, and Phillips announced 499P9H with the same resolution.
32:9 aspect ratio is derived from 4:3, and twice as wide as 16:9:
|list of super wide monitor resolutions|
|Common Name||Technical name||Aspect ratio||Decimal value||Resolution|
|DFHD||super wide 32:9 1080||32:9||3.5||3840×1080|
|DFHD+||super wide 16:5 1200||16:5||3.2||3840×1200|
|SWFHD+||super wide 18:5 1200||18:5||3.6||4320×1200|
|DQHD||super wide 32:9 1440||32:9||3.5||5120×1440|
|DQHD+||super wide 16:5 1600||18:5||3.6||5120×1600|
|SWQHD+||super wide 18:5 1600||18:5||3.6||5760×1600|
|18:5 6K||super wide 18:5 1800||18:5||3.6||6480×1800|
|18:5 8K||super wide 18:5 2400||18:5||3.6||8640×2400|
Ultra-WideScreen 3.6 video format didn't spread, as cinemas in an even wider ScreenX 270° format were released.
Developed by CJ CGV, Screen X uses three(or more) projectors to display 270° content, with an unknown aspect ratio above 4:1. Walls on both sides of a ScreenX theatre are used as projector screens.
|Decimal value||Aspect ratio||Format name||Resolutions||Lens & Film|
|1.185||32:27||DVCPRO HD||640×540, 1280×1080||1x|
|1.25||5:4||DV PAL||720×576, 1280×1024, 1500×1200||1x|
|1.3||4:3||Video Graphics Array||640×480, 1440×1080, 1600×1200||SDTV|
|1.5||3:2||DV NTSC||720×480, 1920×1280, 2400×1600||1x|
|1.6||8:5||"16:10" widescreen format (IT only)||1280×800, 1920×1200, 3840×2400||-|
|1.6||5:3||European Widescreen||800×480, 1280×768||Super 16mm|
|1.7||16:9||Widescreen format (unified)||1920×1080, 3840×2160, 7680×4320||Anamorphic 1.5x on 32:27, HDTV|
|1.85||37:20||"Flat" DCI||1998×1080, 3996×2160||1x|
|1.896296||256∶135||"Full" DCI||2048×1080, 4096×2160||1x|
|2.0||2:1||Univisium||2160×1080, 4320×2160, 5760×2880||VR cameras (most)|
|2.3468531||1678:715||Cinemascope (1950s–1970s)||analog||Anamorphic 2x on 35mm with optical audio|
|2.370||64:27||"21:9" ultrawide||2560×1080, 5120×2160, 7680×3240, 10240×4320||Dashcam, Anamorphic 1.33x on 16:9, 1.25x on DCI 256∶135, 2x on 32:27|
|2.386946||1024:429||"Scope" DCI cinema format||2048×858, 4096×1716, 8192×3432||1x|
|2.38||43:18||"21:9" ultrawide (IT only)||3440×1440, 6880×2880||-|
|2.4||12:5||"21:9" ultrawide||2880×1200, 3840×1600, 4320×1800, 5760×2400, 7680×3200||Anamorphic 1.33x|
|2.55||51:20||Cinemascope 55||analog||Anamorphic 2x on 35mm without optical audio|
|2.6||8:3||24:9 ultrawide (IT only)||2880×1080, 3840×1440, 5120×1920, 5760×2160, 7680×2880, 10240×3840||-|
|2.76||69:25||Ultra Panavision||Anamorphic 1.25x on 70mm|
|3.2||16:5||32:10 super wide (IT only)||3840×1200, 5120×1600, 5760×1800, 7680×2400, 10240×3200||-|
|3.5||32:9||32:9 super wide (IT only)||3840×1080, 5120×1440, 7680×2160, 10240×2880||-|
|3.6||18:5||36:10 super wide (ultra-widescreen 3.6)||4320×1200, 5760×1600, 6480×1800, 8640×2400||1x|
- A History of Widescreen and Wide-Film Projection Processes
- All About Ultrawide Monitors, the Latest Trend in Gaming and Productivity
- p20, Sherlock, Daniel J. "Wide Screen Movies" Corrections, 1994–2004
- Red Camera: Anamorphic lens intro
- University of Virginia's Computer Museum
- Apple Final Cut Pro: DV Pro HD Format, Archived
- Hitachi P50T501
- Smith-Carney System
- "Voyage of Time: The IMAX® Experience in Ultra-Widescreen". IMAX.com. Dec 7, 2016. Retrieved April 27, 2018.
- Kristopher Tapley (Dec 5, 2016). "'Ultra Widescreen' Version of Terrence Malick's 'Voyage of Time' Set for Release". variety.com. Retrieved April 27, 2018.
- super ultra-wide -Samsung News
- Introducing Screen X, Cinema in 270 Degrees
- "Wide Screen Apertures and Aspect Ratios". The American WideScreen Museum. October 17, 2000. Retrieved November 2, 2018.