An aspect ratio specifies the ratio of width to height. Video and still picture frames have a frame aspect ratio. The pixels that make up the frame have a pixel aspect ratio (sometimes referred to as PAR). Different video recording standards use different aspect ratios. For example, you record video for television in either a 4:3 or 16:9 frame aspect ratio. For more information, see Frame aspect ratio.
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When a project is created in Premiere Pro, you set the frame and pixel aspect. Once these ratios are set, you cannot change them for that project. However, you can change the aspect ratio of a sequence. You can also use assets created with different aspect ratios in the project.
Premiere Pro automatically tries to compensate for the pixel aspect ratio of source files. If an asset still appears distorted, you can manually specify its pixel aspect ratio. Reconcile pixel aspect ratios before reconciling frame aspect ratios, because an incorrect frame aspect ratio can result from a misinterpreted pixel aspect ratio.
For example, DV NTSC has a frame aspect ratio of 4:3 (or 4.0 width by 3.0 height). A typical widescreen frame has a frame aspect ratio of 16:9. Many cameras that have a widescreen mode can record using the 16:9 aspect ratio. Many films have been shot using even wider aspect ratios.
When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you decide how to reconcile the different values. This placement leaves black bands above and below the movie frame, called letterboxing.
Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. The pixels that make up a frame have a pixel aspect ratio (sometimes referred to as PAR). Pixel aspect ratios vary because different video systems make various assumptions about the number of pixels that are required to fill a frame.
For example, many computer video standards define a 4:3 aspect ratio frame as 640x480 pixels high, which results in square pixels. The computer video pixels have a pixel aspect ratio of 1:1 (square). Video standards such as DV NTSC define a 4:3 aspect ratio frame as 720x480 pixels, which result in narrower, rectangular pixels. The DV NTSC pixels have a pixel aspect ratio of 0.91 (nonsquare). DV pixels, which are always rectangular, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video. Premiere Pro displays clip pixel aspect ratio next to the clip image thumbnail in the Project panel.
If you display rectangular pixels on a square-pixel monitor without alteration, images appear distorted. For example, circles distort into ovals. However, when displayed on a broadcast monitor, the images appear correctly proportioned because broadcast monitors use rectangular pixels. Premiere Pro can display and output clips of various pixel aspect ratios without distortion. Premiere Pro attempts to automatically reconcile them with the pixel aspect ratio of your project.
You could occasionally encounter a distorted clip if Premiere Pro interprets pixel aspect ratio incorrectly. You can correct the distortion of an individual clip by manually specifying the source clip pixel aspect ratio in the Interpret Footage dialog box.
For other frame sizes, Premiere Pro assumes that the asset was designed with square pixels and changes the pixel aspect ratio and frame dimensions to preserve the image aspect ratio. If the imported asset is distorted, you can change the pixel aspect ratio manually.
It is always important to interpreted files correctly. You can read asset frame dimensions and pixel aspect ratio near the preview thumbnail and in the Video Info column of the Project panel. You can also find this data in the asset Properties dialog box, the Interpret Footage dialog box, and the Info panel.
Footage has a 720x486 or 720x480 frame size,and the desired result is a 4:3 frame aspect ratio. This settingcan also be appropriate for footage that was exported from an applicationthat works with nonsquare pixels, such as a 3D animation application.
When looking for Baahubali 2015, I found an unplesant thing: the movie is around in several aspect ratios (16:9, 2.35), but obviously one is more cropped than the other. I had to download both movies and see which one is cropped.
Now with Baahubali 2017, how do I know which aspect ratio was the film shot at? I found technical specs of the movie here, but it doesn't say which of those aspect ratios is the native one, so naturally one of them will be more cropped than the other.
I see two formats, 1.90:1 IMAX & 2.35:1. Neither is 16:9 and both would have to be cropped to 16.9, one vertically , the other horizontally [or post-boxed/letter-boxed]. Without knowing which of the cinema formats used the most of the frame, you'll never know which is the 'best' crop to 16:9. The original cinema format is almost never 16:9. If shot 35mm, most likely they cropped both out of the original film frame [3:2], at different aspect ratios. Neither is more 'correct' than the other.
When downloading/streaming, the metadata will only show the presentation format of the encapsulated movie, it cannot know whether it's been cropped, post-boxed or letter-boxed to fit into that format.
To be more specific on "How to find the aspect ratio at which the movie was shot?" You'll never know unless you find documentary evidence from the director etc. Even knowing what camera &/or film stock was used will not tell you exactly how the framing inside it was set up.
In one of his best blog posts, prolific editor Vashi Nedomansky shared examples of most every aspect ratio ever used in the history of cinema (there are a lot of them), and shared a link to some free templates that can be overlaid on footage to change the aspect ratio.
However, those templates were all designed for HD frame sizes, and this being 2015, seemingly no one gives a shit about HD anymore. So Vashi did us all a favor and updated the templates for our high-resolution present and our even higher-resolution future. His new template pack (which you can download by clicking the giant image below) comes with 8 popular widescreen ratios just as black bars png. They range from classics like 1.85:1 and 2.39:1 all the way to the obscenely wide 4.00:1. Each template comes in resolutions ranging from 2K to 6K.
Applying these ratios to your footage is insanely easy. All you've got to do is import the template with your aspect ratio of choice into an NLE, drag it onto its own video track atop your edited sequence, and vertically reposition any shots that need recomposing to fit the new ratio. That's it. That's all.
This is pretty awesome. Though if you're going to be using a different aspect ratio for the entire project, Premiere allows you to change the sequence settings to reflect whatever aspect ratio you want. (I assume the other NLEs can do that as well, though I wouldn't know first hand.) It removes one extra layer from your timeline and then you never have to think about exporting it at the wrong aspect ratio or whether or not there are black bars to deal with.
I also love the custom sequence settings possible in Premiere Pro and have cut my last 4 feature films in it. If I'm only shooting one camera codec/frame size that's all good and I can reposition for the final framing. But I haven't worked on a project in the many years that didn't use several different resolution sizes / pixel aspect ratios / frame rates etc. I always use the "Default scale to frame size" option and use an industry standard resolution size as I always have to share assets with VFX and for final delivery. The PNG aspect ratio templates offer real-time playback and take no hit on performance for the GPU or CPU. Also, I have to deliver scenes for review to studios / directors / producers that are played back in theaters for review and they have to be 16:9 to project properly at HD or 4K. That said, if I was in a contained workflow that I was in control of...I would have no issue with setting the sequence to my final delivery format like you do to do the whole edit. It's great that Premiere Pro gives you the flexibility to address both workflows as needed. Thanks for comment Alec and for sharing your workflow.
Can I suggest using these templates as guides and resetting your sequence settings to match. Then get rid of it. This will create a final product that is actually in the desired aspect ratio instead of 16:9 with black bars. This is better for those posting to sites like YouTube which already add the bars. Also, when viewing those sites in widescreen mode, it'll add vertical bars as opposed to letting your film fill the screen, bc it sees your film as 16:9 and not the super cool cinematic ratio you're shooting for. It's an extra step, but worth it.
I have created what I believe is the most comprehensive professional-grade letterbox pack available, and am releasing it today for free. It includes every single standard aspect ratio for film and television, with a few bonus letterboxes thrown in for good measure.
Whether you are looking to add a vintage 1.33:1 (4:3) aspect ratio to your film, a wide 2.76:1 anamorphic look, or even a super wide experimental 4.00:1 aesthetic, this free set has you covered.
Movavi Video Converter lets you make sure that the results of your video conversion will have the correct aspect ratio. You can use this program as a video aspect ratio converter to permanently change the aspect ratio of your video to meet the needs of your target device when you want to prepare a video.
As Movavi Video Converter uses square pixels only during the conversion (except when converting to DVD), the aspect ratio of an output video is always set automatically according to its width and height proportions. So, open the Frame size list and select the right resolution option or pick Custom and enter the required width and height values into the corresponding fields. And don't forget to select the appropriate resize method! 2ff7e9595c
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