576i is a standard-definition digital video mode,  originally used for digitizing analog television in most countries of the world where the utility frequency for electric power distribution is 50 Hz. Because of its close association with the legacy color encoding systems, it is often referred to as PAL, PAL/SECAM or SECAM when compared to its 60 Hz (typically, see PAL-M) NTSC-colour-encoded counterpart, 480i.
The 576 identifies a vertical resolution of 576 lines, and the i identifies it as an interlaced resolution.  The field rate, which is 50 Hz, is sometimes included when identifying the video mode, i.e. 576i50; another notation, endorsed by both the International Telecommunication Union in BT.601  and SMPTE in SMPTE 259M, includes the frame rate, as in 576i/25.
In analogue television, the full raster uses 625 lines, with 49 lines having no image content to allow time for cathode ray tube circuits to retrace for the next frame (see Vertical blanking interval),.  These non-displayed lines can be used to transmit teletext or other services. In the digital domain, only the visible 576 lines are considered.
Analogue television signals have no pixels; they are continuous along rastered scan lines, but limited by the available bandwidth. The maximal baseband bandwidth is around 6 MHz which, according to the sampling theorem, translates to about 720 pixels. This value is enough to capture all the original information present. In digital applications, the number of pixels per line is an arbitrary choice. Values above about 500 pixels per line are enough for a perceived quality equivalent to analog free-to-air television; DVB-T, DVD and DV allow better values such as 704 or 720 (matching the maximum theoretical resolution of the original analog system).
Color information is stored using the YCbCr color space (regardless of the original PAL or SECAM color system) with 4:2:2 sampling and following Rec. 601 colorimetry.
Originally used for conversion of analog sources in TV studios, this resolution was adopted into digital broadcasting or home use. In digital video applications, such as DVDs and digital broadcasting, colour encoding is no longer significant; in that context, 576i means only
The 576i video format can be transported by major digital television formats, ATSC, DVB and ISDB, and on DVD, and it supports aspect ratios of standard 4:3 and anamorphic 16:9.
When 576i is used to transmit content that was originally composed of 25 full progressive frames per second (576p25 or 576p/25), the odd field of the frame is transmitted first (this is the opposite to 480i). Systems which recover progressive frames or transcode video should ensure that this field order is obeyed, otherwise the recovered frame will consist of a field from one frame and a field from an adjacent frame, resulting in 'comb' interlacing artifacts. Such progressive content can be marked using encoding flags, for example in DVDs or other MPEG2 based media.  
Motion pictures are typically shot on film at 24 frames per second. When telecined and played back at PAL's standard of 25 frames per second, films run about 4% faster. This also applies to most TV series that are shot on film or digital 24p.  Unlike NTSC's telecine system, which uses 3:2 pulldown to convert the 24 frames per second to the 30 fps frame rate, PAL speed-up results in the telecined video running 4% shorter than the original film as well as the equivalent NTSC telecined video.
Depending on the sound system in use, it also slightly increases the pitch of the soundtrack by 70.67 cents (0.7067 of a semitone). More recently, digital conversion methods have used algorithms that preserve the original pitch of the soundtrack, although the frame rate conversion still results in faster playback.
Conversion methods exist that can convert 24 frames per second video to 25 frames per second with no speed increase, however image quality suffers when conversions of this type are used. This method is most commonly employed through conversions done digitally (i.e. using a computer and software like VirtualDub), and is employed in situations where the importance of preserving the speed of the video outweighs the need for image quality.
Many movie enthusiasts prefer PAL over NTSC despite the former's speed-up, because the latter results in telecine judder, a visual distortion not present in PAL sped-up video.  DVDLard states "the majority of authorities on the subject favour PAL over NTSC for DVD playback quality".  Also DVD reviewers often make mention of this cause. For example, in his PAL vs. NTSC article,  the founder of MichaelDVD says: "Personally, I find [3:2 pulldown] all but intolerable and find it very hard to watch a movie on an NTSC DVD because of it." In the DVD review of Frequency,  one of his reviewers mentions: "because of the 3:2 pull-down artefacts that are associated with the NTSC format (…) I prefer PAL pretty much any day of the week". This is not an issue on modern upconverting DVD players and personal computers, as they play back 23.97 frame/s–encoded video at its true frame rate, without 3:2 pulldown.
PAL speed-up does not occur on native 25 fps video, such as British or European TV-series or movies that are shot on video instead of film.
Software that corrects the speed-up is available for those viewing 576i DVD films on their computers, WinDVD's PAL TruSpeed being the most ubiquitous[ citation needed ]. However, this method involves resampling the soundtrack, which results in a slight decrease in audio quality. There is also a DirectShow Filter for Windows called ReClock developed by RedFox (formerly SlySoft) that can be used in a custom DirectShow Graph to remap the reference audio timing clock to correct the clock timing skew using an accurate self-adaptive algorithm resulting in effective removal of judder during panning caused by Euro pulldown including audio pitch correction via time-stretching with WASAPI Exclusive Mode and SPDIF AC/3 Encoding output modes.
MPEG-2 is a standard for "the generic coding of moving pictures and associated audio information". It describes a combination of lossy video compression and lossy audio data compression methods, which permit storage and transmission of movies using currently available storage media and transmission bandwidth. While MPEG-2 is not as efficient as newer standards such as H.264/AVC and H.265/HEVC, backwards compatibility with existing hardware and software means it is still widely used, for example in over-the-air digital television broadcasting and in the DVD-Video standard.
The first American standard for analog television broadcast was developed by National Television System Committee (NTSC) in 1941. In 1961, it was assigned the designation System M.
Phase Alternating Line (PAL) is a colour encoding system for analogue television. It was one of three major analogue colour television standards, the others being NTSC and SECAM. In most countries it was broadcast at 625 lines, 50 fields per second, and associated with CCIR analogue broadcast television systems B, D, G, H, I or K. The articles on analog broadcast television systems further describe frame rates, image resolution, and audio modulation.
Standard-definition television is a television system which uses a resolution that is not considered to be either high or enhanced definition. "Standard" refers to it being the prevailing specification for broadcast television in the mid- to late-20th century, and compatible with legacy analog broadcast systems.
Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Video was first developed for mechanical television systems, which were quickly replaced by cathode-ray tube (CRT) systems which, in turn, were replaced by flat panel displays of several types.
Interlaced video is a technique for doubling the perceived frame rate of a video display without consuming extra bandwidth. The interlaced signal contains two fields of a video frame captured consecutively. This enhances motion perception to the viewer, and reduces flicker by taking advantage of the phi phenomenon.
Telecine is the process of transferring film into video and is performed in a color suite. The term is also used to refer to the equipment used in the post-production process. Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR), DVD, Blu-ray Disc or computers. Initially, this allowed television broadcasters to produce programs using film, usually 16mm stock, but transmit them in the same format, and quality, as other forms of television production. Furthermore, telecine allows film producers, television producers and film distributors working in the film industry to release their productions on video and allows producers to use video production equipment to complete their filmmaking projects. Within the film industry, it is also referred to as a TK, because TC is already used to designate timecode. Motion picture film scanners are similar to telecines.
Broadcasttelevision systems are the encoding or formatting systems for the transmission and reception of terrestrial television signals.
Enhanced-definition television, or extended-definition television (EDTV) is a Consumer Electronics Association (CEA) marketing shorthand term for certain digital television (DTV) formats and devices. Specifically, this term defines formats that deliver a picture superior to that of standard-definition television (SDTV) but not as detailed as high-definition television (HDTV).
The refresh rate is the number of times per second that a raster-based display device displays a new image. This is independent from frame rate, which describes how many images are stored or generated every second by the device driving the display.
In video technology, 24p refers to a video format that operates at 24 frames per second frame rate with progressive scanning. Originally, 24p was used in the non-linear editing of film-originated material. Today, 24p formats are being increasingly used for aesthetic reasons in image acquisition, delivering film-like motion characteristics. Some vendors advertise 24p products as a cheaper alternative to film acquisition.
Deinterlacing is the process of converting interlaced video into a non-interlaced or progressive form. Interlaced video signals are commonly found in analog television, digital television (HDTV) when in the 1080i format, some DVD titles, and a smaller number of Blu-ray discs.
480p is the shorthand name for a family of video display resolutions. The p stands for progressive scan, i.e. non-interlaced. The 480 denotes a vertical resolution of 480 pixels, usually with a horizontal resolution of 640 pixels and 4:3 aspect ratio or a horizontal resolution of 854 or less pixels for an approximate 16:9 aspect ratio. Since a pixel count must be a whole number, in Wide VGA displays it is generally rounded up to 854 to ensure inclusion of the entire image. The frames are displayed progressively as opposed to interlaced. 480p was used for many early plasma televisions. Standard definition has always been a 4:3 aspect ratio with a pixel resolution of 720 × 480 at 60 Hz for NTSC regions, and 720 or 768 × 576 for PAL regions. However, standard definition defines a 15.7k Hz horizontal scanrate, which means that interlacing has to be used for those resolution modes. The lowercase letter "p" in 480p stands for progressive, so the two must not be confused.
720p is a progressive HDTV signal format with 720 horizontal lines/1280 columns and an aspect ratio (AR) of 16:9, normally known as widescreen HDTV (1.78:1). All major HDTV broadcasting standards include a 720p format, which has a resolution of 1280×720; however, there are other formats, including HDV Playback and AVCHD for camcorders, that use 720p images with the standard HDTV resolution. The frame rate is standards-dependent, and for conventional broadcasting appears in 50 progressive frames per second in former PAL/SECAM countries, and 59.94 frames per second in former NTSC countries.
1080i is a combination of frame resolution and scan type. 1080i is used in high-definition television (HDTV) and high-definition video. The number "1080" refers to the number of horizontal lines on the screen. The "i" is an abbreviation for "interlaced"; this indicates that only the even lines, then the odd lines of each frame are drawn alternately, so that only half the number of actual image frames are used to produce video. A related display resolution is 1080p, which also has 1080 lines of resolution; the "p" refers to progressive scan, which indicates that the lines of resolution for each frame are "drawn" on the screen in sequence.
576p is the shorthand name for a video display resolution. The p stands for progressive scan, i.e. non-interlaced, the 576 for a vertical resolution of 576 pixels. Usually it corresponds to a digital video mode with a 4:3 anamorphic resolution of 720x576 and a frame rate of 25 frames per second (576p25), and thus using the same bandwidth and carrying the same amount of pixel data as 576i, but other resolutions and frame rates are possible.
Television standards conversion is the process of changing a television transmission or recording from one video system to another. Converting video between different numbers of lines, frame rates, and color models in video pictures is a complex technical problem. However, the international exchange of television programming makes standards conversion necessary so that video may be viewed in another nation with a differing standard. Typically video is fed into video standards converter which produces a copy according to a different video standard. One of the most common conversions is between the NTSC and PAL standards.
High-definition television describes a television system which provides a substantially higher image resolution than the previous generation of technologies. The term has been used since 1936; in more recent times, it refers to the generation following standard-definition television (SDTV), often abbreviated to HDTV or HD-TV. It is the current de facto standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television and Blu-ray Discs.
Super Video CD is a digital format for storing video on standard compact discs. SVCD was intended as a successor to Video CD and an alternative to DVD-Video, and falls somewhere between both in terms of technical capability and picture quality.