Question: Which television color encoding system was first used in France?

full_context: Document 1: 576i: 576i is a standard-definition video mode originally used for broadcast 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 color encoding system, it is often referred to as simply PAL, PAL/SECAM or SECAM when compared to its 60 Hz (typically, see PAL-M) NTSC-color-encoded counterpart, 480i. In digital applications it is usually referred to as "576i"; in analogue contexts it is often called "625 lines", and the aspect ratio is usually 4:3 in analogue transmission and 16:9 in digital transmission.
Document 2: PAL-M: PAL-M is the analog TV system used in Brazil since February 19, 1972. At that time, Brazil was the first South American country to broadcast in colour. Colour TV broadcast began on September 1972 when the TV networks Globo, Tupi and Bandeirantes TV transmitted the Caxias do Sul Grape Festival. Transition from black and white to colour was not complete until 1977. Two years later, in 1979 colour broadcast nationwide in Brazil was commonplace.
Document 3: Digital television: Digital television (DTV) is the transmission of television signals, including the sound channel, using digital encoding, in contrast to the earlier television technology, analog television, in which the video and audio are carried by analog signals. It is an innovative service that represents the first significant evolution in television technology since color television in the 1950s. Digital TV can transmit multiple channels in the same bandwidth occupied by a single channel of analog television. A switchover from analog to digital broadcasting began around 2006 in some countries, and many industrial countries have now completed the changeover, while other countries are in various stages of adaptation. Different digital television broadcasting standards have been adopted in different parts of the world; below are the more widely used standards:
Document 4: 24p: In video technology, 24p refers to a video format that operates at 24 frames per second (typically, 23.976 frames/s when using equipment based on NTSC frame rates) frame rate with progressive scanning (not interlaced). 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.
Document 5: PAL: Phase Alternating Line (PAL) is a colour encoding system for analogue television used in broadcast television systems in most countries broadcasting at 625-line / 50 field (25 frame) per second (576i). Other common colour encoding systems are NTSC and SECAM.
Document 6: SEAC (computer): SEAC (Standards Eastern Automatic Computer" or Standards Electronic Automatic Computer") was a first-generation electronic computer, built in 1950 by the U.S. National Bureau of Standards (NBS) and was initially called the "National Bureau of Standards Interim Computer", because it was a small-scale computer designed to be built quickly and put into operation while the NBS waited for more powerful computers to be completed (the DYSEAC). The team that developed SEAC was organized by Samuel N. Alexander. SEAC was demonstrated in April 1950 and in May 1950 it went into full production, making it the first fully functional stored-program electronic computer in the US.
Document 7: SECAM: SECAM, also written SÉCAM (] , " Séquentiel couleur à mémoire", French for "Sequential colour with memory"), is an analogue color television system first used in France. It was one of three major colour television standards, the others being the European PAL and North American NTSC.
Document 8: Academy Color Encoding System: The Academy Color Encoding System (ACES) is a color image encoding system created by hundreds of industry professionals under the auspices of the Academy of Motion Picture Arts and Sciences. ACES allows for a fully encompassing color accurate workflow, with "seamless interchange of high quality motion picture images regardless of source".
Document 9: Analog Protection System: The Analog Protection System (APS), also known as Copyguard, is a DVD copy prevention system originally developed by Macrovision. Video tapes copied from DVDs encoded with APS become garbled and unwatchable. The process works by adding pulses to analog video signals to negatively impact the AGC circuit of a recording device. In digital devices changes to the analog video signal are created by a chip that converts the digital video to analog within the device. In DVD players trigger bits are created during DVD authoring to inform the APS that it should be applied to DVD players analog outputs or analog video outputs on a PC while playing back a protected DVD-Video disc. In set top boxes trigger bits are incorporated into Conditional Access Entitlement Control Messages (ECM) in the stream delivered to the STB. In VHS alterations to the analog video signal are added in a Macrovision-provided “processor box” used by duplicators.
Document 10: Type C videotape: 1 inch Type C (designated Type C by SMPTE) is a professional reel-to-reel analog recording helical scan videotape format co-developed and introduced by Ampex and Sony in 1976. It became the replacement in the professional video and broadcast television industries for the then-incumbent 2 inch quadruplex videotape (2 inch Quad for short) open-reel format, due to the smaller size, comparative ease of operation (vs. 2 inch) and slightly higher video quality of 1 inch type C video tape recorder (VTR). 1 inch type C required less maintenance downtime than quadruplex videotape, and did not require time base correction to produce a stable video signal.
Document 11: Apollo TV camera: The Apollo TV Camera refers to several television cameras used in the Apollo program's space missions, and on the later Skylab and Apollo-Soyuz Test Project missions, in the late 1960s and 1970s. These cameras varied in design, with image quality improving significantly with each successive model. Two companies made these various camera systems: RCA and Westinghouse. Originally, these slow-scan television (SSTV) cameras, running at 10 frames-per-second (fps), produced only black-and-white pictures and first flew on the Apollo 7 mission in October 1968. A color camera — using a field-sequential color system — flew on the Apollo 10 mission in May 1969, and every mission after that. The Color Camera ran at the North American standard 30 fps. The cameras all used image pickup tubes that were initially fragile, as one was irreparably damaged during the live broadcast of the Apollo 12 mission's first moonwalk. Starting with the Apollo 15 mission, a more robust, damage-resistant camera was used on the lunar surface. All of these cameras required signal processing back on Earth to make the frame rate and color encoding compatible with analog broadcast television standards.
Document 12: Three-two pull down: Three-two pull down (3:2 pull down) is a term used in filmmaking and television production for the post-production process of transferring film to video. Film runs at a standard rate of 24 frames per second, whereas NTSC video has a signal frame rate of 29.97 frames per second. Every interlaced video frame has two fields for each frame. The three-two pull down is where the telecine adds a third video field (a half frame) to every second video frame, but the untrained eye cannot see the addition of this extra video field. In the figure, the film frames A-D are true or original images since they have been photographed as a complete frame. The AB and D frames on the right, the NTSC footage, are original frames. The third and fourth frames have been created by blending movie fields from different frames.
Document 13: Rec. 601: ITU-R Recommendation BT.601, more commonly known by the abbreviations Rec. 601 or BT.601 (or its former name, CCIR 601) is a standard originally issued in 1982 by the CCIR (an organization which has since been renamed as the International Telecommunication Union – Radiocommunication sector) for encoding interlaced analog video signals in digital video form. It includes methods of encoding 525-line 60 Hz and 625-line 50 Hz signals, both with an active region covering 720 luminance samples and 360 chrominance samples per line. The color encoding system is known as .
Document 14: Surface-conduction electron-emitter display: A surface-conduction electron-emitter display (SED) is a display technology for flat panel displays developed by a number of companies. SEDs use nanoscopic-scale electron emitters to energize colored phosphors and produce an image. In a general sense, an SED consists of a matrix of tiny cathode ray tubes, each "tube" forming a single sub-pixel on the screen, grouped in threes to form red-green-blue (RGB) pixels. SEDs combine the advantages of CRTs, namely their high contrast ratios, wide viewing angles and very fast response times, with the packaging advantages of LCD and other flat panel displays. They also use much less power than an LCD television of the same size.
Document 15: Digital video: Digital video is a representation of moving visual images in the form of encoded digital data. This is in contrast to analog video, which represents moving visual images with analog signals. Digital video comprises a series of digital images displayed in rapid succession. In contrast, one of the key analog methods, motion picture film, uses a series of photographs which are projected in rapid succession. Standard film stocks such as 16 mm and 35 mm record at 24 frames per second. For video, there are two frame rate standards: NTSC, at about 30 frames per second, and PAL at 25 frames per second.
ground_truth: SECAM