In London he established a relationship with the National Jazz Federation, run by Harold Pendleton, who also managed Britain's top jazz star of the time Chris Barber. Despite Giorgio's inclination to shoot the avant-garde Johnny Dankworth, Pendleton prevailed on him to shoot Chris Barber. The resulting piece, comprising four songs, intercut establishing and audience reaction shots from the Royal Festival Hall with separate studio session footage. The studio footage, shot in one day, used cutting-edge technology like large Mitchell cameras with 'elephant' suspended mics that restricted camera movements in the small studio, preventing Giorgio from getting all the angles he had hoped for.