This freedom did not exist in 1930. It awaited a wide variety of technological improvements in addition to the decision to run sound and film at 24 frames per second (constant sound speed) rather than the silent speed of 16 frames per second (silent speed of film).
By 1929, camera blimps were developed to rescue the camera from being housed in the "ice box," a sound-proofed room that isolated camera noise from the action being recorded. As camera blimps became lighter, the camera itself became more mobile, and the option of shooting sound sequences with a moving camera became realistic.
Set construction materials were altered to avoid materials that were prone to loud, crackling noises from contact. Sound stages for production were built to exclude exterior noise and to minimize interior noise.
Carbon arc lights, with their constant hum, were initially changed to incandescent lights. More sophisticated circuitry eventually allowed a return to quieter arc light systems.
By 1930, a sound and picture editing machine, the Moviola, was introduced. In 1932, "edge numbering" allowed sound and picture to be edited in synchronization. By 1933, advances in microphones and mixing allowed sound tracks to use music and dialogue simultaneously without loss of quality.
By 1936, the use of optical sound tracks was enhanced by new developments in optical light printers, which now provided distortionless sound. Quality was further enhanced by the development of unidirectional microphones in 1939.
Between 1945 and 1950, the use of magnetic recording over optical improved quality and permitted greater editing flexibility. Magnetic film began to replace optical film for sound editing.
Larger film formats, CinemaScope and TODD-AO, provided space on film for more than one optical track. Stored sound offered greater sound directionality and the sense of being surrounded by sound.
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