Дыбыс жазатын студия ғимараты

Soundproof, hangar like structure, building, or room, used for theatrical film making

A sound stage (also written soundstage) is a large, soundproof structure, building or room with large doors and high ceilings, used for the production of theatrical film making and television productions, usually located on a secured movie or television studio property. Compared to a silent stage, a sound stage is sound proofed so that sound can be recorded along with the images. The recordings are known as production sound. Because most sound in movies, other than dialogue, is added in post production, this generally means that the main difference between the two is that sound stages are used for dialogue scenes, but silent stages are not. An alternative to production sound is to record additional dialogue during post production (known as dubbing).

Structures of this type were in use in the motion picture industry before the advent of sound recording. Early stages for silent movies were built, either as a three wall open roof set, or with large skylights, until electric lighting became powerful enough to expose film adequately.

With the advent of electric lights, enclosed stages were built in Hollywood and rapidly converted to sound stages with many mattresses placed on the walls. With the coming of the talkies in the late 1920s, it became necessary to enclose and fully soundproof these stages to eliminate noise and distractions from outside, including limiting access. The ceilings and walls of the building containing the sound stage must be heavily soundproofed, so the structure must be sturdy and capable of accepting such additional features and loads, or a new building specifically designed with the features and to bear the loads is required, which often is the less expensive alternative to retrofitting an existing structure because of engineering issues. Buildings without soundproofing still are referred to as silent stages and may be used where the dialogue and other sounds are recorded as a separate operation. This separate operation usually involves the principal actors doing synchronized dialogue replacement voice recordings over a working cut of the film, specialized language actors doing a secondary language dubbing or for the filming of special effects. A sound stage, unlike a silent stage, requires caution to avoid making noise anywhere within range of the audio recording equipment. A sound stage traditionally has a large red light above or next to each exterior door. When the light starts blinking, it means shooting is in progress. Anyone who opens the door at that point will introduce external sound and light and ruin the take in progress.

The latest technology and software can render basic previsualisation effects into scenes in real time while recording, before post production, with the use of sensors detecting the position of actors and elements, in the staging of the frame. The director during filming can view what the composition of the picture is with basic digital objects and surfaces included and how it appears, assisting the creative process.

A newer form of set being used in both the production of films and television shows is the virtual production "volume". Different from the volume of a conventional motion capture stage (where often no physical image is being recorded for the final product), a virtual production volume is a stage that is surrounded (in varying degrees) by screens that extend the set. These screens, most commonly large arrays of LEDs, show a version of the set that was constructed in 3D (using software such as Unreal Engine) that tracks its motion in real time with camera movement. A static display can function similarly for a still camera, given there is no parallax. However, these volumes allow the scenery to adaptively move and distort according to how the camera ought to see it if it were moving in a real environment. Benefits of such a setup include total control of a scene; dusk and dawn can last all day. Not only can time of day or number of light sources be manipulated at will, but portions of the volume off screen can be turned completely white to add fill lighting from a given direction, or they can be turned off to darken that area. They can also function as a typical green/blue screen for chroma keying by displaying the solid color behind the performers. Having a physical space where actors can see their environment and inform their performances accordingly is something that most greenscreen sets lack. The controlled visual environment also allows directors and cinematographers the ability to better create mise en scène, with greater control over the set, and the ability to see the final image as they are creating it. Where these volumes are especially beneficial is in having light behave perfectly realistically on transparent, translucent, and very reflective materials. These types of objects, such as eyeglasses, glassware, and shiny armor, are often very difficult to deal with in a conventional chroma key work flow. This technique also minimizes the amount of tedious rotoscoping work required in post production to cut out what was not picked up by chroma keying. The downside to this setup is that unlike with greenscreen, whatever was filmed is final in terms of visual environment (as is the case with filming on any normal set or location). By contrast, a greenscreen film segment can essentially be swapped to anything at any point in post production.