Scope shifted
“Scope” cinema used to be 2.35:1; it settled on 2.39:1 after the 1970s to reduce splice marks on film prints.
Use even numbers for codecs like H.264/H.265 to avoid padding.
Exact ratio:
Aim for mod2 or mod4 to keep chroma subsampling aligned.
Swap solve mode to turn 16:9 into 9:16 instantly.
| Label | Resolution | Ratio |
|---|
Enter any aspect ratio—or pick a preset for 16:9, 2.39:1, 4:3, 1:1, 4:5, or 9:16—then supply either the width or the height. The tool instantly fills in the missing dimension and shows the exact ratio so you can confirm whether you’re delivering a true 2.39 or something closer to 2.35. Everything runs locally in your browser.
The preset chips make it easy to hop between social deliverables and cinema scopes without hunting for a reference chart. The deliverables table is handy when a client asks for 4K UHD and you need to confirm whether that means 3840×2160 or DCI 4K at 4096×2160. Because the math is simple, the tool keeps working offline once loaded—useful on set or on a plane.
If you enter an odd dimension, round to the nearest even number to avoid padding by the encoder. You can also flip the solver to compute width from a given height, useful when designing vertical videos that must fit a strict height but can vary in width.
“Scope” cinema used to be 2.35:1; it settled on 2.39:1 after the 1970s to reduce splice marks on film prints.
Square and 4:5 assets occupy more screen space on mobile feeds, which is why many campaigns avoid pure 16:9.
9:16 is just 16:9 rotated—swapping width and height in the same ratio gets you there instantly.
Using even pixel counts prevents chroma-subsampling alignment issues in H.264/H.265 and avoids encoder padding.
DCI 4K is 4096×2160 (1.90:1) while UHD is 3840×2160 (16:9). Double-check which one clients mean by “4K.”