Gaffer Thomas Garreau lights up “Emilia Pérez” with ARRI
From feature films to commercials, chief lighting technician Thomas Garreau relies on the full range of ARRI lighting fixtures for his shoots.
Feb. 19, 2025
Member of a new generation of gaffers, Thomas Garreau is equally active in commercials and feature films. Recently, he collaborated with cinematographer Paul Guilhaume AFC to craft the lighting for “Emilia Pérez,” Jacques Audiard’s groundbreaking film that won multiple awards at the Cannes Film Festival where it premiered. Since then, the musical crime comedy film has won four Golden Globes and is nominated for 13 Oscars®. In this interview, Garreau shares insights on his use of ARRI lighting tools on “Emilia Pérez,” which was shot almost entirely in a studio. The gaffer also speaks about his work on commercials and other films where he frequently uses ARRI SkyPanel, SkyPanel X, ARRIMAX, M-Series, and L-Series fixtures.
On “Emilia Pérez,” a street market was recreated at Bry Studios and illuminated by SkyPanels
“Emilia Pérez” is a powerful film with bold lighting choices. How did you approach Jacques Audiard’s vision with DP Paul Guilhaume?
This was my first time working with Paul Guilhaume, and it was absolutely fantastic. The project evolved a lot during pre-production. At one point, there was talk of shooting in Mexico, then of working in a studio without sets, in the style of “Dogville.” Eventually, we settled on a more realistic treatment of the story, with more abstract lighting moods for the sequences with choreography.
We conducted tests with Paul and the set design team. For recreating part of the street market scene from the beginning of the film, I used small fluorescents and LED strips to recreate the local atmosphere. In the end, 95% of “Emilia Pérez” was shot in Paris at the Bry Studios, where we occupied all seven sound stages. With a team of about ten lighting technicians, plus additional reinforcements, we lit the 20 different sets for the film.
While I worked on one set with part of the team, four lighting technicians were pre-rigging another set. We constantly rotated between setups. Sometimes, we’d build a set for just a single day of shooting. It was incredibly intense.
“In the end, 95% of ‘Emilia Pérez’ was shot in Paris at the Bry Studios, where we occupied all seven sound stages,” comments Garreau
“Emilia Pérez” is set almost entirely in Mexico. How did you recreate this specific lighting atmosphere in a studio?
This was one of the major challenges of the film: recreating the ambiance of Mexico. Paul Guilhaume provided several references, but we relied heavily on the scouting photos he took there with the director and production designer. Paul wanted each set to have a strong, distinctive look.
Paul and I previsualized some lighting choices using the Depence software. We imported the 3D plans of the set design and placed the fixtures in the software, which renders highlights, beams, and textures very well. This helped us make decisions for certain setups.
For the Mexican villa set, the goal was to be realistic. Paul envisioned a mix of a celestial dome and sunlight but gave me a lot of freedom in how to achieve it. I recreated skies using SkyPanels. Above each window, I mounted several S60s in softboxes. I often added a row of S120s for direct lighting to create a warm hotspot in the otherwise soft light. I also used S360s with Chimeras, positioning them based on the camera frame. Across the SkyPanels, I adjusted colors to capture the complex tones of daylight. Sometimes, I added 9-light or 12-light tungsten multisources to create strong directional light and evoke the Mexican sun. For the same set, there was also a large backdrop of Mexico City, which I backlit with SkyPanels for daytime scenes and small tungsten Fresnels for nighttime scenes. Altogether, on “Emilia Pérez,” I used up to 130 SkyPanels. Pretty much the entire range was on set: S60s, S120s, and S360s.
For the car scenes shot against a blue screen, the sunset was recreated using ARRI T12 Fresnels and SkyPanels, with a gradient of orange, blue, and violet
The gala sequence in the grand performance hall is very impressive, with radical shifts in ambiance. How did you approach the lighting?
It’s a beautiful scene. The set included practical lighting with chandeliers and small table lamps, which provided a warm and intimate atmosphere. Above, I installed SkyPanels in Space Lights with diffusion to create a soft, downward light that reinforced the chandeliers’ glow.
For the part where the actress dances on the tables, I used four automated projectors controlled via pan-bar, along with a camera mounted in the rigging. By pointing a target on the screen, all the beams could converge at the same spot simultaneously. This setup allowed us to adapt quickly to the needs of the choreography, which evolved with each take. At the lighting console, we worked closely with Julien Peyrache, who brought his expertise in live performance to enhance the scene’s dynamism.
In the film, even the car scenes were shot in a studio with a blue screen. To simulate the sunset, I used ARRI T12 Fresnel tungsten lights with 10 kW output, as well as 9-lamp and 12-lamp tungsten setups. I also placed SkyPanels overhead in two 6x12 m softboxes, programming a gradient from orange to blue to violet. This created a subtle lighting effect that reflected on the car and the actors’ faces. For daytime scenes, I used the SkyPanels’ pixel mode to simulate the movement of clouds, controlled directly from the console.
On “Emilia Pérez,” the only real location we shot in was the La Lucecita association. Paul wanted complete control over the lighting to quickly transition between day and night. Working with the rigging team led by Gaston Grandin, we blacked out the entire exterior and installed ARRI M40 and M90 HMI lights, bouncing them off ultra bounce fabrics to light the interior. Inside, we used only LED tubes and a small frontal light, which I would turn on or off depending on the shot. The ARRI M-Series is truly the go-to tool when high power is needed.
You recently acquired a SkyPanel X. Have you already used this new ARRI tool, and if so, what did you think of it?
I tested SkyPanel X with director of photography Nicolas Loir on the set of “Rembrandt,” directed by Pierre Schoeller. We used it occasionally to light nighttime exteriors and create some sunbeams. I really like the HyPer Optic accessory, which creates a very solar-like light which is a bit hard. With Nicolas, we used it at night in a street to light a building facade that was quite far away. The idea was to give it some character and color. The result really impressed us. The light was great, despite the distance. On the same film, I also used SkyPanel X during the day to create a somewhat harsh sunlight effect. We were shooting in a school and using the generator there was difficult. So, I plugged the SkyPanel X into a power outlet and was able to create a sunspot with the HyPer Optic. The fixture is very practical.
I also recently used the SkyPanel X in the studio for an Adidas commercial. DP Nicolas Loir was looking for a light that could illuminate the model’s face. At first, we thought about using moving lights, but the light was too harsh. Also, we especially needed very precise colors to match the products. Ultimately, we went with the SkyPanel X, always equipped with the HyPer Optic. We mounted it on a large offset to direct it toward the model. This allowed us to create a sharp spot on part of the model’s body and face. The vignette was very clean; there was no color gradation on the edges. And we were able to match the colors with the classic SkyPanels I had set up around the set.
The SkyPanel X is really a great tool. ARRI didn’t just make a weatherproof SkyPanel; with accessories like the HyPer Optic, new light textures are now available. And by simply adding the soft diffusion plate, it becomes a regular SkyPanel again, but with more power.
I tested the SkyPanel X with cinematographer Nicolas Loir, and the result blew us away. The light quality was amazing, even from a distance.
Thomas Garreau
Gaffer
You are the chief lighting technician on many commercials. What tools do you typically work with?
Commercials are a lab for testing new projectors. But the classic SkyPanel remains the go-to tool for creating large lightboxes that enhance the product. I add diffusion all around to create a very soft ambiance. On a Dior commercial, shot with DP Nicolas Loir, we installed two 12 m x 10 m lightboxes above the scene, created with a total of 50 SkyPanels. I also backlit a printed fabric decoration with an additional 30 SkyPanels. To that, I added eight S360s. For me, the great advantage of the SkyPanel is the quality of its color and its ability to allow for a very soft low-intensity start-up. Using DMX, I control everything from an iPad. I can quickly adjust the lighting parameters according to the DP’s and director’s wishes. The SkyPanel is also widely available with rental companies that have heavily invested in this tool. We never have issues with availability.
But there’s more than just LEDs in commercials. It really depends on the project. With DP Paul Guilhaume, I shot a commercial for Hublot watches featuring soccer star Kylian Mbappé. We used twelve 18 kW ARRIMAX lights to light the player running on the field. We equipped them with Licht-Technik shutters that create rapid strobe effects on the ARRIMAX. Paul combined this lighting with a camera shooting at 1000 frames per second. The result was impressive. At the same time, I don’t have a strict preference for projectors. Anything that can create light is interesting. Recently, I shot a commercial in Senegal where there were very few modern projectors. It was a really exciting challenge. Sometimes, you discover new textures with older tools. You always have to be able to work with whatever is available.
Twelve ARRIMAX 18 kW lights illuminated the Hublot watch advertisement featuring French soccer player Kylian Mbappé
At 35, you have already gained impressive experience as a chief lighting technician in feature films, commercials, and television. How did you get started, given that there’s no formal training for gaffers in France?
When I graduated from the cinematography program at 3IS, I knew I wanted to work in film, but I didn’t have a clear idea of which role I wanted to pursue. I started with an internship at Panavision, where I met a chief lighting technician, Nicolas Dixmier, who took me under his wing. From there, I learned on the job, especially with Franck Barrault, who taught me a lot. Then it was a series of encounters with cinematographers who trusted me. I think of Benoît Chamaillard and Eric Dumont, with whom I’ve worked on four films, as they helped me step up to chief lighting technician roles on features. DP Nicolas Loir, whom I met while working on commercials, also trusted me for an ambitious shoot like “November.”
I’m very happy with the role I have today as a gaffer on set. I love assisting the cinematographer in bringing their lighting vision to life.
