In one of Huidobro’s favorite scenes in Episode 7, a small airplane carrying a gang leader lands, just as Barry and his crew drive up – and chaotic violence ensues. It’s a scene that would typically be told with frenetic camerawork and lots of cuts, to enhance the violence. Instead, the shot starts on the plane in the sky, following it gently and peacefully as it lands. “Then you see a small car approaching from a distance,” says Huidobro. When the gangsters, who are waiting for their boss to arrive, see Barry’s SUV appearing on the horizon, they decide there is no choice but to shoot at it, making it turn over and explode. “Instead of feeling dangerous, the camera work was very composed, careful, almost traditional,” she says. “The juxtaposition of the slow pace and how composed the characters are and how formal the frames are, is completely opposite to what one would expect in this heightened, dangerous situation. That’s what makes it, for me, even more funny, and what seems to be the style of `Barry` as a whole.”
In Episode 8 she worked closely with Berg, who directed the episode. In this episode, she noted, "Barry" punches his one-time ally Fuches in the face, spurring Fuches to flip and offer information about him to their mutual enemy Goran. “All the characters are unraveling and allegiances shift,” she says. “I thought the lighting, framing, blocking and camera movements were all completely in synch. We shot-listed our sequences and we enjoyed capturing the dark humor of the situation in the way we framed the characters, and the group shots that really show the power dynamics.” Her efforts on the episode garnered Huidobro an Emmy nomination for best cinematography.