David Bowie/UK 1990

The soundboard album “MILTON KEYNES BOWL 1990 2ND NIGHT” (hereinafter referred to as 2CD) showed off the greatest hits that summarized his career in front of his local fans. It is a single album that has everything, but if there is one thing missing, it is the scene at the scene. This work is a video work that spells out such a scene with a mix of two audience cameras. As mentioned in the commentary of 2CD, “SOUND + VISION TOUR 1990” has professional shots left in various countries around the world, such as Tokyo, Lisbon, Rio, Sao Paulo, Chile, etc. However, this performance in his home country of Milton Keynes had the best sound board of radio broadcast, but no professional shot video was left. This work was produced by a maniac who was worried about such a situation. It is a combination of two types of audience shots from the day to reproduce the scene at the scene. The original video was also covered with an air check of the radio broadcast, but in this work, it was replaced with the best sound version of 2CD and finished to the highest quality that can exist. The scene shown in this work is very, very hot. Both cameras are shot from the front seats slightly to the left of Bowie, and it is so real that the enthusiasm of the scene seems to erupt. The angle keeps Bowie’s waist up in the center of the screen, but the shadow of the front seats and the slightly shaky image convey the fierce excitement. This is the biggest personality of this work. In fact, the angles of the two cameras are very similar, and at first glance, they are so similar that you might think, “Is there a meaning to two?” However, when the camera is about to remove Bowie due to the excessive enthusiasm, it immediately switches and keeps Bowie’s figure at all times. Usually, multi-camera editing is done to watch the show from various perspectives, but this work is different. It is a camera mix “to keep staring at Bowie”, and it is a picture that never takes your eyes off Bowie while making you feel the fierce enthusiasm. When such a scene is combined with a superb sound board, an indescribable “presence” stands out. Unlike the “on-site” feeling of a complete audience shot, the scene of desperately switching the camera depicts Bowie’s feelings, and the singing voice of the sound board is poured directly into the ear. Yes, what seeps out from this work is the “feeling” of wanting to get closer to Bowie and feel him by your side. It is a video that approaches with a skin sensation. And because you understand that “feeling”, you are also attacked by a sense of synchronicity that goes beyond mere quality. This is a feeling that can only be experienced in this work, which can not be experienced in normal professional shots or audience shots. Not only does it add an image of the enthusiasm of the scene to the 2CD, but it also synchronizes with the feeling of “I want to stare forever”. This is also a form of rock record that only the world of fan-made can depict. This work is full of emotions that can be communicated only between fans, on the 2CD that “should be released officially”. Milton Keynes Bowl, UK 5th August 1990 (2CAM MIX) (Synced with Stereo SBD) 1. Ode To Joy 2. Space Oddity 3. Rebel Rebel 4. Ashes To Ashes 5. Fashion 6. Band Introductions 7. Life On Mars? 8. Pretty Pink Rose 9. Sound And Vision 10. Blue Jean 11. Let’s Dance 12. Stay 13. Ziggy Stardust 14. China Girl 15. Station To Station 16. Young Americans 17. Suffragette City 18. Fame 19. “Heroes” 20. Changes 21. The Jean Genie/Gloria 22. White Light/White Heat 23. Modern Love COLOR NTSC Approx. 104min.