As legendary Director Ridley Scott’s “French sound man,” Sound Engineer Stéphane Bucher has established himself as a critical creative partner in the director’s films. To achieve the powerful and captivating soundscapes that have become an expected part of a Ridley Scott blockbuster, Bucher chooses a selection of microphones from DPA Microphones.
Bucher’s partnership with Scott began unexpectedly during the production of The Last Duel — a casting call that led to a career-defining moment. Despite this unconventional beginning, which involved last-minute travel and on-set challenges, Bucher’s expertise and adaptability impressed Scott. This resulted in continued collaborations on productions such as House of Gucci, Napoleon, and now, Gladiator II, for which Bucher has delivered unmatched sound quality on an epic scale.
“It was a mix of chance and persistence,” says Bucher. “I started with traditional French film sets, then adapted to more complex Anglo-Saxon techniques, including multi-camera setups and larger teams. This experience shaped my approach, particularly in handling the demanding scenes and setups of Ridley’s productions.”
Bucher’s choice of DPA 6060 Subminiature Lavalier and 4060 Omnidirectional Miniature Lavalier has proven essential in crafting the auditory impact of these historic films. From intimate conversations to intense battle scenes, Bucher relies on DPA’s precision to capture clear, immersive sound across multiple perspectives.
“During Napoleon, I developed new techniques to capture battlefield sounds, including equipping stunt performers with discreet DPA mics embedded in costumes,” adds Bucher. “This approach allowed me to capture the energy of close combat without disturbing the visual integrity of the scenes. For Gladiator II, I expanded these techniques, building a specialized sound cart named ‘Maximus’ to manage audio from distances of up to 300 meters away — well beyond the typical limitations.”
With Gladiator II, Bucher faced his most complex production to date, working across sprawling sets with eight to 12 cameras and coordinating sound across vast distances. According to Bucher, “Employing DPA microphones alongside cutting-edge fiber and RF-over-fiber technology allowed me to capture pristine sound even in the film’s largest battle sequences. The strategic placement of DPA microphones ensured high-quality audio capture, while my skilled team concealed mics within armor and costumes to deliver immersive soundscapes from multiple angles.”
Bucher is extremely grateful for the collaboration he has had with the brand. “DPA Microphones were an invaluable asset on Gladiator II, providing the clarity and depth required for a film of this scale,” he says. “DPA products consistently deliver, allowing me to capture every detail of the sound, which is critical when working with a director like Ridley Scott.”
Thanks to Bucher’s meticulous work and continued reliance on DPA, audiences can expect an auditory experience that mirrors the intensity and grandeur of Scott’s vision.
Photographer Credit: Aidan Monaghan | © 2024 Paramount Pictures
