Aspect ratio calculator for fashion video.

How to read the result

The large number is the reduced ratio. A reduced ratio uses the smallest whole numbers that describe the same shape. 1080 and 1920 share a factor of 120, so 1080 by 1920 becomes 9 by 16. If the two sides share no useful factor, you will see a less familiar pair, such as 59:94. That pair is still the true shape. It simply is not one of the five frames this product exports.

Under the ratio, the page says whether that shape is an exact FashionUGC export. An exact match means the reduced width and height are one of 9:16, 16:9, 1:1, 2:3 or 3:2. Anything else is not an export, even when it is close. 4:5 is close to a portrait. It is not 2:3, and the create form will not offer it.

The table then compares your rectangle with all five exports. Kept area is the percentage of your rectangle that remains when the other rectangle is used as the window. A score of 100 percent means the shapes are the same. A score of 31.6 percent, which is what 9:16 keeps of a 16:9 rectangle, means most of the picture sits outside the window. For a dress, that missing part is often the hem or the shoulders, depending on which way you crop.

The creative column is the product limit, not a suggestion from a platform. Piveth can make 9:16 and 16:9, and only at 10 seconds. Astra can make all five frames, at 10, 15, 20, 25 or 30 seconds. A row can be geometrically close and still be unavailable on the creative you meant to use. Square is a real export. It is an Astra export.

Read the note under the table before you treat the percentage as a plan for the file. FashionUGC does not scale your photograph into a window and throw the rest away. It generates a new frame from the clothing photographs you upload. The percentage tells you how different the two shapes are. The file tells you whether the garment survived. Those are different checks, and you need both.

What an aspect ratio is

An aspect ratio is a shape, not a file size and not a pixel count. Two photographs can both be 9:16 and be completely different resolutions. 720 by 1280 and 1080 by 1920 are the same shape. 1080 by 1080 is a different shape, even though it shares the 1080-pixel side. When someone asks for a 1080 video without naming the other side, they have not named a ratio.

The usual way to write the shape is width, then height, in lowest terms. Divide both sides by the largest whole number that fits into both. That number is the greatest common divisor. For 1920 by 1080 it is 120, and 1920 divided by 120 is 16, and 1080 divided by 120 is 9, so the ratio is 16:9. The same method is what the calculator does for any pair you type, up to 20,000 pixels on a side. Past that, the field is rejected so a stray paste cannot freeze the page.

You can also write the shape as a single decimal, width divided by height. 9:16 is 0.5625. 16:9 is about 1.7778. 1:1 is 1. 2:3 is about 0.6667. 3:2 is 1.5. 4:5 is 0.8. The decimal is useful when you are comparing a strange photograph with a named frame, because you can subtract. It is a worse way to brief a team, because 0.5625 does not tell a merchant which player you mean. The calculator shows the reduced pair first and uses the decimal only as a check.

CSS uses the same idea. The aspect-ratio property on MDN takes a width and a height, and the browser keeps that shape while the box scales. A product page can reserve a 9:16 hole so the layout does not jump when the video arrives. That CSS property does not resize the MP4. It only reserves the rectangle. If you put a 16:9 file in a 9:16 hole, the browser will letterbox it or crop it, depending on the fit you set. Neither of those is a new generation.

Orientation follows the same division. If width is smaller than height, the rectangle is vertical. If the sides are equal, it is square. If width is larger, it is landscape. A phone held upright is not automatically 9:16. Many phone screens are taller than 9:16. A 1080 by 2340 screen reduces to 6:13, which is the proportion people sometimes call 9:19.5. FashionUGC does not export 6:13. A 9:16 file on that screen leaves a margin, or the player crops it further. The calculator’s 9:16 chip uses 1080 by 1920, the shape of the file, not the shape of a particular phone.

The five frames FashionUGC exports

The create form offers five frames, and not every creative offers all five. The aspect ratio guide is the written version of that limit. The table here is the same limit, so the calculator and the form do not disagree.

9:16 is the tall phone frame. It is the shape of every published FashionUGC example on this site. Both of those examples are 10 seconds. Teams use 9:16 when the file is meant to fill a vertical player in a Reels workflow, a TikTok workflow, or a Shorts workflow. FashionUGC does not publish the file to those accounts. You download the MP4 and upload it yourself. Piveth can make this frame in 10 seconds. Astra can make it longer, up to 30 seconds, if the photographs can support the extra time. Extra seconds do not invent angles the stills do not contain.

16:9 is the wide frame. 1920 by 1080 reduces to it exactly, and so does 1280 by 720. Both creatives can export it. It suits a landscape module on a product page, a desktop embed, or a YouTube upload that is not trying to be a vertical short. A 16:9 file keeps only about 31.6 percent of a 9:16 rectangle. If you generate vertical and later crop to landscape, you lose most of the height. On a gown, that is the choice between the neckline and the hem. Generate 16:9 when the placement is wide, from the same photographs, as its own job.

1:1 is square. 1080 by 1080 is the obvious pixel pair, and any equal pair reduces to 1:1. Astra can export it. Piveth cannot. A square slot in a grid, a feed module, or an email poster is the usual reason. A square keeps about 56.2 percent of a 9:16 rectangle and the same share of a 16:9 rectangle. The crop is severe in both directions. Do not plan a square by chopping a vertical file after you have accepted the vertical composition. Ask Astra for 1:1 if the slot is square.

2:3 is a portrait that is shorter than 9:16. 1080 by 1620 is an exact example. 1000 by 1500 is the same shape. Astra only. Some product galleries and some print-like layouts already use 2:3. It keeps about 84.4 percent of a 9:16 rectangle, which is the closest the exports get to each other among the portraits. It is still not 9:16. A theme that asks for 2:3 will pillarbox or crop a 9:16 file. If that theme is the real destination, export 2:3.

3:2 is the wide partner of 2:3. 1620 by 1080 reduces to it. Astra only. It is wider than a square and not as wide as 16:9. It keeps about 84.4 percent of a 16:9 rectangle. Use it when the layout is already 3:2. Using it because it sounds like a photograph is how a landscape player ends up with bars, or a hem that was composed for a different window.

There is no 4:5 in that list, and there is no 5-second duration. A 6-second bumper, if a placement asks for one, has to be trimmed in an editor from a file you have already accepted. The generator will not make a 5-second or a 6-second export. Prices for the lengths that do exist are ₹149 for 10 seconds, ₹199 for 15, ₹279 for 20, ₹349 for 25 and ₹500 for 30, shown again before you pay. The calculator does not take payment and does not start a job.

Ratios people look up that this product does not export

Most of the searches that land on an aspect ratio calculator are for shapes a feed or a camera made familiar. Several of those shapes are real, and several are useful, and FashionUGC still does not export them. The calculator’s job is to say so in the same minute you type the pixels, before a job is paid for the wrong rectangle.

4:5 is the common portrait crop in a feed. 1080 by 1350 reduces to 4:5 exactly. Meta’s page on aspect ratios supported by placements lists 4:5 alongside 1:1, 9:16 and 16:9. Instagram’s note on video ad specifications talks about 1:1 and 9:16 as the frames it associates with common video placements, and it associates shorter files, under about 15 seconds in Feed and under about 10 seconds in Stories, with those placements. FashionUGC can make 1:1 on Astra and 9:16 on both creatives. It cannot make 4:5. Of the frames it can make, 2:3 keeps about 83.3 percent of a 4:5 rectangle and 9:16 keeps about 70.3 percent. If the placement is truly 4:5, the honest path is to export the nearest frame you can accept and crop in an editor, or to accept a 9:16 file for a vertical placement instead of forcing a feed crop the form does not offer.

4:3 is an older camera and television shape. 1440 by 1080 reduces to 4:3. It is not an export. The closest exported frame by kept area is 3:2, at about 88.9 percent, and 3:2 is Astra only. 16:9 keeps about 75 percent. A catalog photograph shot at 4:3 can still be a source image. The source image’s ratio and the export’s ratio are allowed to differ. What you should not do is tell a client the finished file will be 4:3 because the camera was 4:3.

3:5 is less famous and it shows up in real product stills. The floral midi photograph published on this site is 429 by 715 pixels, and that pair reduces to 3:5 with no remainder. FashionUGC does not export 3:5. 9:16 keeps about 93.8 percent of that rectangle, and 2:3 keeps about 90 percent. The published video is 9:16, which matches the closer of those two. The stills further down are that photograph and frames from the file, so you can see the shape change beside the cloth, not only as a percentage.

1:2 and 2:1 are long strips. Some marketplace listing-video notes ask for a very tall or very wide file. FashionUGC does not export either strip. The marketplace guide records the differences between Amazon, eBay, Etsy and a shop, including Amazon’s published minimum of about a minute, which a 10 to 30 second file does not meet. A ratio match would not fix a length minimum. Check that guide before you assume a vertical clothing clip is a legal listing video on every marketplace.

Very tall phone screens are another false friend. 1080 by 2340 reduces to 6:13. That is the same proportion as 9:19.5. Kept area inside 9:16 is about 82.1 percent. The file you generate at 9:16 will not fill that screen edge to edge without a further crop or a margin. Design the garment for 9:16, which is the file, and let the player add its own interface. Meta’s notes on aspect ratio and placement are the picture of how a vertical file gets cropped again by buttons and interface. Type, a logo, or a price burned into the edge of the MP4 fails that crop, and FashionUGC does not burn type into the file anyway.

21:9 and other cinematic widths are not exports. A banner that wide keeps little of a clothing portrait. If the placement is a thin banner, say so and plan a separate composition. Do not start from a 9:16 generation and slice a ribbon out of the waist.

How the kept-area percentage is calculated

Take the two shapes as width divided by height. Call the shape you typed the source, and the exported frame the window. If the source is wider than the window, the height fits and the sides fall outside. The kept fraction is the window’s ratio divided by the source’s ratio. If the source is taller than the window, the width fits and the top and bottom fall outside. The kept fraction is the source’s ratio divided by the window’s ratio. Multiply by 100 for the percentage. When the ratios are equal, the fraction is 1 and the table shows 100 percent.

Here is 4:5 against 9:16, which is the comparison people most often hope will be exact. 4 divided by 5 is 0.8. 9 divided by 16 is 0.5625. The source is wider than the window, so the kept fraction is 0.5625 divided by 0.8, which is 0.703125, or 70.3 percent. Against 2:3, 2 divided by 3 is about 0.6667. The source is still wider, so the kept fraction is 0.6667 divided by 0.8, about 0.833, or 83.3 percent. That is why the calculator calls 2:3 the closest export for a 4:5 rectangle, and why it still refuses to call 4:5 an export.

The same arithmetic on the bronze gown’s published source still is worth doing because the pixels are not a round social size. The photograph is 236 by 376. The greatest common divisor is 4, so the reduced ratio is 59:94. Width over height is about 0.6277. Against 2:3, the still is slightly taller than the frame, and the kept fraction is about 0.6277 divided by 0.6667, or 94.1 percent. Against 9:16, the still is wider than the frame, and the kept fraction is 0.5625 divided by 0.6277, or 89.6 percent. The nearest export by this measure is 2:3. The published video is 9:16 anyway, because the placement they made it for was a phone, not because the still was already 9:16. The calculator will tell you the nearest frame. You can still choose a different exact export when the player demands it. You cannot choose a frame the form does not list.

Floats can wobble on a long division, so the calculator decides an exact match from the reduced whole numbers, not from a rounded percentage. 720 by 1280 reduces to 9:16, and the table shows 100 percent for that row. A pair that is one pixel off, such as 1080 by 1921, will not be called 9:16. It will be called the odd ratio it is, with 9:16 as the nearest export. That strictness is the point. A slot that is one pixel away from a named frame is still a different brief if a layout is checking the ratio exactly.

Nothing in this arithmetic measures resolution, file weight, or sharpness. A 9:16 file can be small and soft or large and sharp. Google’s image guidelines ask for a clear picture of the thing the nearby text names. A correct ratio does not rescue a blurry garment, and a sharp garment in the wrong ratio still gets cropped by the player. The calculator is only the shape. The photograph still has to show the piece.

Worked sizes, from the chips and from the published stills

1080 by 1920 reduces to 9:16. Kept area is 100 percent in 9:16, about 84.4 percent in 2:3, 56.2 percent in 1:1, 37.5 percent in 3:2, and 31.6 percent in 16:9. Both creatives can export the exact frame. This is the chip for Reels, TikTok and Shorts. Those three chips share pixels because they share a player shape. They do not share a caption, a music library, or an upload. The calculator does not write the caption.

1920 by 1080 reduces to 16:9. The kept-area numbers are the reverse of the vertical row: 100 percent in 16:9, about 84.4 percent in 3:2, 56.2 percent in the square, 37.5 percent in 2:3, and 31.6 percent in 9:16. Both creatives can export it. If someone hands you a landscape master and asks for a vertical cut, the 31.6 percent is the warning. You would be keeping less than a third of the rectangle. Generate a vertical job if the photographs can carry a vertical composition. Do not assume the wide master contains a full-length garment in the center.

1080 by 1080 is 1:1. Astra only. It keeps about two thirds of a 2:3 or a 3:2 rectangle, and a little over half of either 9:16 or 16:9. 1080 by 1620 is 2:3, Astra only, and it keeps about 84.4 percent of 9:16. 1620 by 1080 is 3:2, Astra only, and it keeps about 84.4 percent of 16:9. These three are the frames people forget because the social chips are all 9:16. They exist for layouts that are not a phone feed. Piveth will not make them. If the form is on Piveth and you need a square, switch to Astra. The calculator’s creative column is there so you do not discover that after the photographs are in the job.

1080 by 1350 is 4:5. No export. Closest kept area is 2:3 at about 83.3 percent, then the square at 80 percent, then 9:16 at about 70.3 percent. 1440 by 1080 is 4:3. No export. Closest is 3:2 at about 88.9 percent. 1080 by 2340 is 6:13. No export. Closest is 9:16 at about 82.1 percent. Type any of those into the calculator and the large number will not be a frame name from the form. That is the correct result, including when a template told you the size was standard.

The published gown still is 236 by 376, reduced to 59:94. Closest export by kept area is 2:3 at about 94.1 percent, then 9:16 at about 89.6 percent. The published floral still is 429 by 715, reduced to 3:5. Closest export is 9:16 at about 93.8 percent, then 2:3 at 90 percent. Both finished files are 720 by 1280, which is exact 9:16, 10 seconds. The stills in the next section are those files. Use them as a picture of a source ratio and an export ratio side by side, not as a claim that the generator cropped the still by the percentage in the table.

A source rectangle and a 9:16 file are often different shapes

These six pictures are the two published generations: a bronze evening gown from a studio mannequin photograph, and a floral midi dress from an on-body photograph. Both videos are 10 seconds and 9:16. The source photographs are not 9:16. The frames inside the videos are. Generated frames can also change the scene. The gown’s mannequin becomes a person. A fold, a background, or a hem can move. The captions say that. They are not campaign results, and they are not a measurement of sales.

If you run 236 and 376 through the calculator, you will see 59:94 and a nearest frame of 2:3. If you run 720 and 1280, you will see 9:16 and a kept area of 100 percent. Both numbers are true of this gown, and they describe different rectangles: the still that went in, and a frame that came out. Choosing 9:16 on the form was a placement decision. The calculator does not overrule it. It stops you from describing the still as if it already were the file.

The floral pair is the cleaner version of the same lesson. 429 by 715 is exactly 3:5, a ratio that sounds close to a portrait and is not on the form. 9:16 was the closer export, and 9:16 is what was generated. The front frame and the three-quarter frame are the same ratio. A second angle is not a new aspect ratio. If the shop also needs a square, that square is another job on Astra, from the same dress, and it will not match this vertical file edge for edge.

Length is a second choice, after the shape

A ratio does not imply a duration. 9:16 can be 10 seconds or 30 seconds inside this product, depending on the creative. Piveth is only 10 seconds, and only 9:16 or 16:9. Astra is 10, 15, 20, 25 or 30 seconds, and it is the only creative that can add 1:1, 2:3 and 3:2. The calculator names the creative so the length conversation starts from a frame the form can actually make.

Platform notes about short files are not a duration menu. Instagram’s video-ad page, linked above, associates files under about 15 seconds with Feed and under about 10 seconds with Stories. A 10-second Piveth file can sit in that kind of length. A 30-second Astra file may be longer than a placement wants, and the trim happens in an editor after you accept the garment. The generator will not emit a 6-second or a 5-second file to match a bumper. If the buy asks for 6 seconds, export a length you can make and cut it down from a file that already shows the right piece.

Some destinations care about the ratio and a minimum length together. Google’s Merchant Center documents an optional video link for a product. The requirements published there include a public file, a length from 6 seconds to 240 seconds, a ratio of 9:16 or 16:9 or 1:1, and at least 720p. FashionUGC can export those three ratios. It does not claim that the file is 720p or 1080p. Check the file you downloaded before you put it in a feed that states a pixel minimum. A non-YouTube URL, on that same help page, has to be the video file itself. A page with a player is not the file.

A correct 9:16 file can still be the wrong length for a marketplace. The marketplace guide is where those minima are written down, including the Amazon listing-video minimum that a 10 to 30 second clip does not reach. Do not use this calculator to argue that a ratio match is enough. Shape and length are separate gates, and a third gate is whether the video shows the same garment as the listing. One job is one garment and one colour. A second colour is a second set of photographs.

What to do with the number

If the large number is one of the five frames, and the creative column includes the creative you intended, you can take that frame to the create form. Upload photographs of one garment. Up to six images, JPEG, PNG or WebP, 8 MB each. Choose the creative, the length, and that frame. Clothing is the category the form accepts. A beauty product or an accessory is rejected. The calculator will still do the arithmetic for those pixels, because a rectangle is a rectangle, and it will not start a generation.

If the large number is not one of the five, read the closest row and decide whether that frame is acceptable for the real placement. A 4:5 feed slot and a 2:3 Astra export are not the same brief. You may crop the Astra file in an editor, or you may change the placement to 9:16 and generate that instead. Say which one you are doing. Leaving the mismatch unspoken is how a product page opens a vertical file inside a 4:5 hole and cuts the hem without anyone having agreed to the cut.

If you need two frames, you need two jobs. The photographs can be the same garment. The outputs will not match exactly, even when both are accepted. There is no control that derives 1:1 from a finished 9:16 file inside FashionUGC. There is no batch that emits every ratio from one click. The multiple versions page is about that limit: each colourway is its own job, and a second frame is the same kind of separate work.

After the file exists, review it next to the source photograph at the ratio you asked for. Name the colour. Name the length of the garment. If the player will crop the file again, look at that crop, not only at the full MP4. A ratio that was right for the file can still be wrong for the buttons a placement draws on top. Fix the composition before you add music, a caption, or a price. None of those are in the MP4.

Mistakes this page is here to catch

The first mistake is calling 1080 by 1350 a vertical video and assuming the form’s vertical option will match it. Vertical on the form is 9:16. 1080 by 1350 is 4:5. They are both taller than they are wide. They are not the same shape. The calculator’s large number is 4:5, and the export line says it is not available. That is the whole correction.

The second mistake is treating a 16:9 render as a master and cropping every other placement out of it. The kept-area table puts a number on that habit. A 9:16 window keeps about 31.6 percent of a 16:9 rectangle. If the garment was composed edge to edge in the wide frame, the vertical crop cannot contain it. Generate the placement you have, or compose the wide frame with a center that can survive a later crop you have already measured.

The third mistake is asking Piveth for a square, a 2:3, or a 3:2. The creative column says Astra. Switching creatives also changes the lengths on offer. Piveth does not grow a 10-second limit into 30 seconds because the placement is square. Square is not on Piveth at all.

The fourth mistake is reading the kept-area percentage as a description of the model. The percentage is two rectangles. The model builds a new frame. On the gown, a mannequin still became a worn frame inside an exact 9:16 file. A 100 percent ratio match between 720 and 1280 does not mean the photograph was copied into that frame unchanged. Review the cloth. The product photo to video page is the longer account of that step.

The fifth mistake is using the calculator as a resizer, a compressor, or a way to invent a 4:5 export. It does not open a file. It does not change a pixel. It does not add a row to the create form. If a buyer needs a ratio this product cannot make, say that before the job, and do the crop in an editor only after the garment in an exported frame has been accepted.

The sixth mistake is a length disguise. A perfect 9:16 ratio does not make a 10-second file into a one-minute marketplace video, and it does not make a 30-second file into a 6-second bumper. Shape is this page. Duration is the creative you pick, and the editor you use afterward when the placement wants a length the form does not sell.

A short way to brief the frame

Write down the slot that will actually play the file, including the pixel size if the theme names one. Put that width and height into the calculator. If the result is an exact export, name that frame and the creative that can make it. If it is not, write the closest export and the kept-area percentage next to the original request, and decide in writing whether you will crop, change the slot, or decline the shape.

Then look at the photographs. A vertical export needs a garment that is visible from the angle you have. A wide export of a full-length dress needs the dress to fit the width you are about to generate, or you will spend the frame on empty background. The calculator cannot see the garment. It can only stop the brief from naming a rectangle the form will not make.

Generate one job for that garment, that colour, that frame, and that length. Review the MP4 against the still at the same ratio. Only then make a second job if another frame is truly required. Keep the calculator result with the brief so the next colourway starts from the slot, not from a habit of always clicking 9:16.