Lighting portfolio / ParisLighting design and show operation
At the lighting desk, I follow the musicians’ rhythms, the silences and the scene changes. Based in Paris, I design and program lighting for concerts and live shows across France and abroad. In my grandMA3 training sessions, I teach the same techniques I use on shows.
01 / CreditsSelected credits
01Festival · Nesle
Les Nuits Celtiques
I ran the lighting for Manaor & Irish Mor at La Nouvelle Scène during the 2026 festival.
02Event · Vincennes
La Folie Douce
I operated the grandMA3 at the Hippodrome de Vincennes for the 2026 edition, alongside the Génération Nexus technical crew.
03Concert · 8 May 2026
Vedan Live
I ran the concert lighting with the Nela LED technical crew.
04Gala · 6 and 7 June 2026
Gala de Wallers
I ran the lighting on both days of the gala with the Global Évent Show technical crew.
05Concert · Paris
NK Divine
At the Casino de Paris, I synchronised the grandMA3 lighting cues with Ableton Live using MIDI timecode.
06Orchestra · Stage design
Soulmates Orchestra
I designed an all-RGB LED set for the orchestra, with colours that change from song to song.
07Ice show · Tignes
Rêve de Glace
I worked on Sarah Abitbol’s ice show tour at the Tignes ice rink.
08Concert · Amiens
Mosimann Live
I ran the lighting for Mosimann’s concert in Amiens on 10 September 2026 with the On Tour Live technical crew.
09Event · Paris
Terminal 7
On 21 June 2026, I operated the lighting desk at Terminal 7 with the JPB technical crew.
10Private event · Le Port-Marly
Les Pyramides
I ran the lighting for a private event at Les Pyramides with the Nela LED Production technical crew.
11Festival · Paris-Vincennes · 2024
Yardland
At the Paris-Vincennes racecourse, I operated the festival lighting desk using a rig supplied by B Live. Read the SONO Mag article (in French)
Previsualisation3D lighting design
Before load-in, I test fixture positions, colours and beam angles in 3D to see the lighting from the audience’s perspective.
For shows that need precise timing, I program bespoke lighting sequences to timecode. I cue each change to the music, then use 3D previsualisation software so we can watch the result together and fine-tune the transitions before the rig goes up.