"What's this!?" "Photography from the audience seats is amazing..." I apologize all of a sudden. However, a ferocious book has appeared that makes those words leak out. This work is an audience shot of MOTLEY CRUE's "DR. FEELGOOD WORLD TOUR 1989-1990" at its peak. Even though it was at its peak, many people may be surprised to find footage from the audience seats in the 1980s available on DVD. After all, even we can't believe it. However, what is truly incredible is the content of this work. I'm not sure how much I can convey the greatness of this, but I'll try anyway. First, let's introduce the standard specifications. This work is an audience shot of “April 11, 1990 Albany Performance”. The full view of the stage from the second floor seat on the left side of the stage does not include any shadows from the front row, and the live performance itself fills the field of view. A clear sound befitting the scene with no obstructions...oh, no. This is not the time to waste characters on something like this. The great thing about this work is not that! So what's so amazing about it? To be honest, the photographer is amazing. What can I say, I'm already in a good mood. I boldly zoom in on the highlights of the show, but the speed is just incredible. Please play with the zoom function of your handy camera at home and think of it as its maximum speed. He approaches at full speed, but still holds the target member firmly in the middle. I would understand if this was a band that didn't move from a fixed position, but this is MOTLEY CRUE at their peak running around the stage, so it's already a fiercely active video...When I write this, I can imagine the screen shaking all over the place. Maybe, but it's not. It doesn't just come close, it pulls back. No matter how violent Vince Neil or Nikki Sixx are, it's just hard to watch if you follow them with a zoom. Instead, zoom in once to get a full view and then zoom in again. Therefore, you can enjoy zooming while fully grasping the show even though it is a one-camera shot. Using a shooting technique that can only be described as ``single person multi-camera'', it creates a roller coaster sensation. Even this may still be misunderstood. A screen that keeps zooming in and out may seem boring. That's actually true (lol), but it's amazing because it's not hard to see. It's extremely stable, probably because I'm using a tripod, and there's almost no camera shake even when zooming in with all my might. Moreover, he knows the highlights of the show...well, he knows it completely and is extremely accurate. Well, for example, "Live Wire." Tommy Lee's beat drives a wedge into the song at the beginning of the song, but it repeatedly zooms in and out with each beat. It feels like Tani Kei's "Gachoon" is repeated on the beat of the song. Of course, they don't "gachon" according to the rhythm from beginning to end, but they can freely zoom in and out to suit the rhythm of the song and the atmosphere of the show. “Same Ol’ Situation (S.O.S.)” shows off the glamorous girls chorus, and Tommy’s drum solo that spins around the heads of the large audience is also extremely dynamic. Because the images were so terrifying, I forgot to mention something important. The image quality of this work is also amazing. I've been making a fuss about zooming and zooming for a while now, but even when you get very close, it's super beautiful, just like a professional shot. The freshness is such that you can only believe that it was digitized directly from the shooting master itself, and there is no noise or deterioration. Every single strand of Tommy's hair is extremely clear as he shakes it around as he pounds away. You can see everything in that quality. There's the Kabuki-like opening scene where he pops out of the floor, Tommy's stripping as he seductively pulls down his bikini pants, and the pyro explosion. A roller coaster shot that perfectly suits rock idiot entertainment. I've never seen anything so amazing... Even though it's only one camera, it's far more spectacular than a multi-camera professional shot. And the visual beauty. Who on earth is this photographer? There are scenes where he hurriedly hides the camera between songs, so it doesn't seem like he's a related person, but his skill and understanding of show production is too deep for that. Amazing photography techniques and great mood. MOTLEY CRUE is at the peak of its splendor and splendor, allowing the photographer to go to such lengths. This is a miraculous product because everything is in place. To be honest, this tour has the standard best professional shots (Auburn Hills performance and Kansas City performance), but even that is not a match. Instead of saying, "It's amazing because it was filmed from the audience seats," it's "It's amazing because it was filmed from the audience seats." This is a film that was made possible because of the unique culture of "audience shots," and it is a super film that will convey to people 100 or 200 years from now that "20th century rock is amazing" and "audience shots are amazing." It's an entertaining masterpiece. A roller coaster rock that is unique in its ``fun!'' feeling that the photographer feels on set. Live at Knickerbocker Arena, Albany, NY. USA 11th April 1990 AMAZING SHOT!!!! (102:02) 1. Intro 2. Kickstart My Heart 3. Red Hot 4. Rattlesnake Shake 5. Too Young To Fall In Love 6. Shout At The Devil 7. Live Wire 8. Same Ol' Situation (S.O.S.) 9. Slice Of Your Pie 10. Guitar Solo 11. Drum Solo 12. Looks That Kill 13. Smokin' In The Boys Room 14. Wild Side 15. Girls, Girls, Girls 16. Without You 17. Home Sweet Home 18. Dr. Feelgood Vince Neil - Vocals , Guitar Mick Mars - Guitar Nikki Sixx - Bass Tommy Lee - Drums COLOR NTSC Approx.102min.
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