You're used to operating yourself, so how was it having to put your faith in a team of camera operators?
It was my first real experience of that, but it was great. We had so many monitors on this show, the video unit really had to work hard. Armando directed episode one, and then he show-ran the series, so he was there for the other episodes. There'd be a director's monitor in the middle, with Armando to one side, and me to the other side. I'd have a 17" monitor split into four, and a headset that was live to all my operators, so I could give them notes, rotating between all four cameras.
As the directors got into that way of working, they would start telling me where to send the cameras. It was constant little notes and directions on the fly, which was a baptism of fire and I had to learn how to do that very quickly. In a way, it felt a lot like live TV.
Was it challenging, working with seven different directors on the series?
It was fine, actually. Almost all of them had worked with Armando before, and they were all just lovely. There were no egos, nobody came in and tried to change anything, and Armando was always around, show-running the series, so if we were talking about a scene it would be him, me, and the director.
Because I shot every episode, Armando said that he wanted me to be the protector of the look of the show. He really liked what we did in episode one, and it was my job to collaboratively let the other directors know how we do things. Occasionally they'd ask for something and I'd instinctively know it didn't feel like "Avenue 5," but they always took that very well, and it was all for the good of the show.