ABSTRACT
In The Craftsman , one specific part of the Narrative sound area – the actors’ dialogue – remained monophonic throughout by intent; to provide a greater degree of separation in the mix from the atmospheres used within the Abstract sound area and the music used within the Temporal sound area, affording it a clear avenue of direct communication. A challenge exists in how to graphically represent these instantaneous and moment-to-moment changes, as a soundtrack differs from a picture track by virtue of it being silent at any moment of a freeze-frame; the sound itself can only be auditioned by it moving – by the soundtrack actually playing. As opposed to delivering the narrow sonic soundscape of a sporting occasion, such as a football, cricket or boxing match, a filmed drama encompasses a much wider range of situations and places that fictional characters inhabit.
