Australian-born Gregg Reynolds runs everything that hits the video screens at the Atlas, from room-specific visuals to full-venue takeovers, and he rides herd on the video techs in each room to make sure the show actually happens. On top of that, he pulls double duty as the venue’s photographer when needed, sliding behind the lens to capture the club at its most cinematic. He officially answers to Kristopoh and Aaron, the head lighting tech, but his fingerprints still end up all over the venue’s visual identity.

Gregg has strong opinions about nightlife, and he isn’t shy about sharing them. He has a habit of pushing past his lane—especially with upper management and younger promoters—which makes him both a creative asset and a regular source of friction. Like Delphine and Maury, he’s technically a freelancer with an office at the Atlas, free to work other gigs and clients when he’s not building the club’s next visual overdose.

In person, Gregg is hard to miss. He stands 6 feet 3 inches tall, broad-shouldered and solidly built, with a slightly stocky frame he constantly turns into a prop for physical comedy. A thick, curly mane of dark brown hair frames his face, paired with narrow, closely set pale blue eyes and animated, bushy eyebrows that telegraph his moods before he speaks. His strong square jawline, deep smile lines, and fair skin make his expressions read big: he can flip in an instant from a wild, slightly unhinged grin to a flat, intensely serious deadpan that shuts a conversation down.