Compare 4:4:4, 4:2:2, 4:2:0, and 4:1:1 chroma subsampling formats and calculate effective color data size and bandwidth for your resolution and bit depth.
Video Parameters
Format Comparison
Format
Chroma Resolution
Bits / Pixel
Data / Frame
Raw Data Rate
vs 4:4:4
Common Use
Chroma Sample Grid (4×2 pixel block)
Each cell represents one pixel. Filled squares have their own chroma sample; empty squares borrow from the nearest filled square.
Summary
Compare 4:4:4, 4:2:2, 4:2:0, and 4:1:1 chroma subsampling formats and calculate effective color data size and bandwidth for your resolution and bit depth.
How it works
Enter your video resolution (width and height in pixels).
Select the color bit depth (8-bit, 10-bit, or 12-bit).
Enter the frame rate (e.g. 24, 30, or 60 fps).
Read the comparison table showing chroma resolution, bits per pixel, data rate, and relative size for each subsampling format.
Use the format details panel to understand when to use each format.
Use cases
Decide between 4:2:0 and 4:2:2 when choosing a camera or codec for chroma keying.
Calculate raw bandwidth requirements for different recording formats.
Understand why 4:4:4 is preferred for green-screen compositing work.
Compare storage requirements between H.264 (4:2:0) and ProRes 422 (4:2:2).
Explain to clients why higher chroma subsampling matters for color grading.
Evaluate whether 4:1:1 (DV/HDV) footage is suitable for a given post-production workflow.
Frequently Asked Questions
The three numbers describe the ratio of luma (Y) to chroma (Cb and Cr) samples in a 4-pixel-wide row. The first number is always 4 (luma samples). The second is horizontal chroma samples per row. The third is the additional chroma samples in the second row (0 means the second row reuses the first). So 4:2:0 samples chroma at half horizontal and half vertical resolution.
4:4:4 stores full chroma at every pixel: 2 chroma samples per pixel. 4:2:0 stores 1 chroma sample for every 4 pixels (a 2×2 block), so chroma data is one-quarter of what 4:4:4 needs. Total bits per pixel drop from 24 (8-bit 4:4:4) to 12 (8-bit 4:2:0), halving the raw data rate.
Loss is most visible during chroma keying (green/blue screen): color edges blur where the matte meets fine hair or fabric. It also shows in saturated text on detailed backgrounds and after heavy color grading where pushing chroma exposes the coarser grid. For normal delivery (streaming, broadcast), 4:2:0 is perceptually transparent.
Consumer H.264 and HEVC profiles use 4:2:0. High-profile H.264 and Main 4:2:2 Profile HEVC support 4:2:2. Full 4:4:4 requires High 4:4:4 Predictive (H.264) or Main 4:4:4 Profile (HEVC) — rarely used outside RAW or studio workflows.
4:1:1 samples one chroma value per 4 horizontal pixels in every row (no vertical subsampling). It was used in DV (consumer) and DVCPRO25 (broadcast). It has the same chroma data rate as 4:2:0 but distributes it differently: full vertical chroma resolution with quarter horizontal — important for interlaced material where vertical detail matters more.
No. The data rates shown are uncompressed raw values. Codec compression (H.264, HEVC, ProRes, DNxHD) reduces actual file sizes by 4–200× depending on codec efficiency and content complexity. Use the numbers here to compare relative bandwidth between formats, not to predict disk usage.
