ASPECT RATIO
CALCULATOR
Essential Tools for Filmmakers and Editors
In the fast-paced world of digital cinema and video production, two things can break a project before it even hits the edit suite: incorrect framing and mismanaged data. I provide two indispensable tools designed for all visual professionals, specifically catering to the technical demands of cinematography, DIT work, and post-production.
1. Aspect Ratio Calculator
Delivering content in the correct format is vital for client satisfaction. Whether you are shooting for theatrical release, social media, or broadcast TV, Aspect Ratio Calculator helps you calculate precise pixel dimensions. Use it to determine the exact frame size for your camera settings or to set up your editing timeline, ensuring your final delivery meets the exact technical specifications and "delivery standards" required by your clients.
ASPECT RATIO CALCULATOR
Mode: Lock Mode
Click the 🔓 icon to lock a value. Select 'Custom' for non-standard ratios.
0.56:1
Instruction
1. Set your aspect ratio
- Choose a preset from the dropdown menu (e.g., 2.39:1, 16:9, 9:16) or select "Custom Ratio" to manually enter any specific proportion (e.g., 1.85, 2.0, etc.).
2. Toggle Calculation Modes
- Lock Mode: Click the 🔓 icon to fix a specific value (Width, Height, or Ratio). The other fields will calculate automatically based on your "locked" anchor.
- Free Mode: All fields are editable, and the tool adjusts values dynamically as you type.
3. Enter Your Pixel Dimensions
- Type in your desired Width or Height. The tool uses "cross-multiplication" logic to find the missing value in real-time.
3. Visual Confirmation
- Watch the Visualizer on the right to see a real-time representation of your frame. It shows exactly how your ratio fits within a standard 16:9 monitor.
Why it Matters
Every platform has a "Golden Ratio." Whether you are shooting a cinematic feature at 2.39:1 (Anamorphic), a standard TV commercial at 1.78:1 (16:9), or a social media reel at 0.56:1 (9:16), knowing your exact pixel dimensions is crucial.
If you set your camera or timeline to the wrong resolution, you risk losing image quality through scaling or, worse, ruining your composition with "accidental" cropping.
How it Works
The tool uses a geometric ratio formula. By locking one dimension (Width or Height) and defining the Aspect Ratio (AR), it calculates the missing variable:
- To find Height: H = W / AR
- To find Width: W = H × AR
Example:
You want to deliver a 2.39:1 Cinematic video, and your client requires a width of 3840px (4K).
Calculation: 3840 / 2.39 = 1606.69
Result: Your timeline should be set to 3840 x 1607 px
2. Bitrate ↔ File Size Calculator
Managing data is one of the most critical aspects of any production. Bitrate ↔ File Size Calculator allows you to accurately estimate the total amount of data your project will generate. By referencing industry-standard bitrates from brands like ARRI, Sony, Canon, RED, and Nikon, you can calculate exactly how much storage space you need for a day of shooting. This ensures you are always prepared with the right number of high-speed drives and memory cards before you even step on set.
BITRATE CALCULATOR
Mode: Lock Mode
Click the 🔓 icon to lock a value. The other two will calculate accordingly.
Video Bitrate Reference
Approximate values in Mbps. Compiled for 4K and FHD at standard frame rates.
| FORMAT / CODEC | RES | 24p | 30p | 50p | 60p | 120p |
|---|---|---|---|---|---|---|
| 1. ARRI RAW (ALEXA 35 & Large Format) | ||||||
| ALEXA 65 (6.5K Open Gate) | 6.5K | 6350 | 7930 | - | - | - |
| ALEXA 35 (4.6K Open Gate) | 4.6K | 2620 | 3270 | 5460 | 6550 | 13100 |
| ALEXA Mini LF (4.5K OG) | 4.5K | 2560 | 3200 | 5330 | 6400 | - |
| ALEXA 35 (4K 16:9) | 4K | 1760 | 2200 | 3660 | 4400 | 8800 |
| ALEXA Mini (2.8K OG) | 2.8K | 1160 | 1450 | 2400 | 2900 | - |
| 2. Apple ProRes (Industry Standard) | ||||||
| ProRes 4444 XQ | 4K | 1697 | 2121 | 3535 | 4242 | 8484 |
| ProRes 4444 | 4K | 1131 | 1414 | 2356 | 2827 | 5654 |
| ProRes 422 HQ | 4K | 754 | 943 | 1571 | 1885 | 3770 |
| ProRes 422 | 4K | 503 | 629 | 1048 | 1258 | 2516 |
| ProRes 422 LT | 4K | 351 | 439 | 732 | 878 | 1756 |
| 3. Sony XAVC (FX & Alpha Series) | ||||||
| XAVC S-I (All-I) | 4K | 240 | 300 | 500 | 600 | 1200 |
| XAVC S (Long GOP) | 4K | 100 | 100 | 150 | 150 | 280 |
| XAVC HS (H.265) | 4K | 50 | 50 | 100 | 100 | 200 |
| XAVC S-I (All-I) | FHD | 89 | 111 | 185 | 222 | 444 |
| 4. Blackmagic Design (BRAW - 12-bit) | ||||||
| URSA 12K (12K 17:9 - 5:1) | 12K | 2320 | 2900 | 4830 | 5800 | 11600 |
| URSA 12K (12K 17:9 - 8:1) | 12K | 1450 | 1810 | 3020 | 3620 | 7240 |
| URSA 12K (12K 17:9 - 12:1) | 12K | 970 | 1210 | 2020 | 2420 | 4840 |
| Pocket 6K Pro (6K 16:9 - 3:1) | 6K | 1610 | 2010 | 3350 | 4020 | - |
| Pocket 6K Pro (6K 16:9 - 5:1) | 6K | 965 | 1210 | 2010 | 2415 | - |
| Pocket 6K Pro (6K 16:9 - 8:1) | 6K | 605 | 755 | 1260 | 1510 | - |
| Pocket 6K Pro (6K 16:9 - 12:1) | 6K | 405 | 505 | 845 | 1015 | - |
| BRAW 4K (4K 16:9 - 3:1) | 4K | 1016 | 1270 | 2116 | 2540 | 5080 |
| BRAW 4K (4K 16:9 - 8:1) | 4K | 381 | 476 | 794 | 952 | 1904 |
| 5. RED Digital Cinema (REDCODE RAW) | ||||||
| REDCODE HQ (8:1) | 4K | 480 | 600 | 1000 | 1200 | 2400 |
| REDCODE MQ (12:1) | 4K | 320 | 400 | 660 | 800 | 1600 |
| REDCODE LQ (18:1) | 4K | 215 | 265 | 440 | 530 | 1060 |
| 6. Nikon (N-RAW & Internal) | ||||||
| N-RAW High (12-bit) | 4K | 1450 | 1810 | 3020 | 3620 | - |
| N-RAW Normal (12-bit) | 4K | 870 | 1090 | 1810 | 2180 | - |
| ProRes 422 HQ (Internal) | 4K | 754 | 943 | 1571 | 1885 | - |
| 7. Canon Cinema EOS (Cinema RAW Light) | ||||||
| Cinema RAW Light ST | 4K | 540 | 675 | 1125 | 1350 | - |
| Cinema RAW Light LT | 4K | 320 | 400 | 665 | 800 | - |
| XF-AVC (All-I) | 4K | 410 | 500 | 810 | 1000 | - |
| 8. H.265 / HEVC (Highly Efficient) | ||||||
| H.265 10-bit (High) | 4K | 100 | 100 | 170 | 200 | 400 |
| H.265 10-bit (Std) | 4K | 50 | 50 | 100 | 100 | 200 |
| H.265 (HEVC) | FHD | 15 | 20 | 35 | 40 | 80 |
| 9. H.264 / AVC (Standard Distribution) | ||||||
| H.264 (High Profile) | 4K | 100 | 100 | 150 | 150 | - |
| H.264 (Main Profile) | 4K | 60 | 60 | 100 | 100 | - |
| H.264 (Standard) | FHD | 25 | 30 | 50 | 60 | 120 |
Why it Matters
Data is the "digital film stock" of our generation. Shooting ARRIRAW or ProRes 4444 generates gigabytes of data every minute. Without precise calculation, you might run out of storage mid-shoot, leading to costly delays.
I built this tool so you can plan your day-rate. By inputting the bitrate of your chosen codec and the expected shooting duration, you can determine exactly how many Terabytes of hard drive space you need to bring to the set.
The Formula
To understand the data, you must understand the difference between a Bit (b) and a Byte (B). Bitrates are measured in Megabits per second (Mbps), while storage is measured in Gigabytes (GB).
The Master Formula:
File Size (GB) =
Bitrate (Mbps) × Duration (Seconds)
8 × 1024
- Dividing by 8: Converts Bits to Bytes.
- Dividing by 1024: Converts Megabytes to Gigabytes.
Example:
You are shooting a 1-hour interview on a Sony FX3 using XAVC S-I 4K (240 Mbps).
- ● Seconds: 1 hour = 3600 seconds
- ● Calculation: (240 × 3600) / 8 / 1024 = 105.46 GB
- ● Result: You need at least 106 GB of free space for that single hour.