The final show of the triplet performed at this venue in 1994, this VOIO captures a band that had probably just about settled into the routine of being committed to do shows at least once every three nights until October. So here, they're not quite at their peak yet - indeed they seem a bit tired, having already done the previous two nights. The whole show is captured, notwithstanding the occasional lack of awareness by the camera operator. The first thing we see is a perfect shot...of a concrete beam. All that one can really hear are the wails of hysteria from a stadiumful of Americans, which feature to a greater or lesser degree (mainly greater) all the way to the end. Shortly thereafter, one can pick out the openings of "Astronomy Domine." The overall sound is somewhat bass-y throughout the entire show, without being distorted. Although starting with a mildly unpromising zoom in on the drums, we move out after a bit to a full-stage shot, which allows us to see the oil slide projections and also our vantage point for the evening - we're high up on the right-hand side, about mid-way back. For the entire show, for the most part we alternate between the maximum zoom-in setting and the full-stage view. Unfortunately, the maximum zoom just can't get any closer to the people on stage over and above being able to see what they're wearing. This is quite a shame, because it's by far the most popular view we get, at the expense of a lot of other more general features that we could have otherwise been looking at. At this setting is something that the increasingly vibrant stage lighting makes us aware of: a large twin cable cutting right across our line of vision.

Of further note was the aspect ratio of the picture. On a regular 4:3 television set, it looks like someone has squashed the picture up. Enjoyment is greatly enhanced if you've got a wide screen one. It sounds a bit fussy, but seeing the stage as high as it is wide really got on my tits. As do the numerous instances of crowd interference throughout, be it latecomers, early goers or simply those in need of the conveniences. During "Keep Talking," for example, due to this migration, in what I would guess is despair the camera abandons looking at the stage altogether and points towards some kind of exit on the other side of the stadium instead, containing lots more people going to and fro. So you've got to feel some sympathy for the camera operator, especially as certain aspects of the presentation are captured well. Most of the projections on Mr. Screen are clearly visible, if zoomed in on a bit too much, and the pigs during "One Of These Days" get a good airing. Sadly the mirror ball in "Comfortably Numb" fares less well; we do actually see it, but through a small gap in the crowd at a sloping angle. As our cameraperson was either too short or unwilling to attract attention by standing on his seat, key moments of the last three songs are missed because everybody else was doing so. Thus as Mr. Screen goes out with a bang, we slink off with rather less.

So, what can we say in conclusion? A brave effort? Well, yes. There seemed to be a lot working against our intrepid hero from the off. The crowd was fairly unruly throughout, the vantage point wasn't the best, and perhaps they weren't as experienced in using a camcorder as one needs to be in order to get the best possible video. But what do I know? I've never owned one myself. It's not the best VOIO out there from the 1994 tour, by any means. However if you want the lone performance of "One Slip" (which was filmed comparatively well, incidentally), you haven't got much choice. And if this tape's the only one from 1994 you can get hold of anyway, then it'll give you more than a flavour of what it's like to experience Pink Floyd live in a stadium environment - warts and all.