The show action takes place on the Esplanade down below in the centre of the Tattoo's completely new £16m amphitheatre, which is installed for the first time, with new seating tribunes, VIP Boxes, a special projection platform, a large corporate hospitality area and improved site lines all round.
A purpose built climate controlled projection control room is also part of the new design, along with lift access for the third floor of the production and FOH control areas at the back of the seating stand.
In practical terms, the elevator has speeded up the projection get-in enormously, as the equipment no longer has to be craned into place.
The Tattoo also has a new chief executive and producer, Brigadier David Allfrey. This year the Royal Navy is the Tattoo's lead service, so many of the visual materials relate to the sea - and include giant sea dragons, kelpies, fishing boats, shipwrecks and an eclectic and rich selection of aquatic life and history. This particularly comes alive during the Scottish Dancing section.
The giant images are very prominent this year, running almost constantly for the second part of the show once darkness falls.
Says Ross Ashton, "Working with David has been refreshing and very invigorating. He has brought a new direction and energy to the whole performance, and really appreciates what high technical production values can bring to the show and make the whole guest experience so much more special and memorable."
With the projection platform being slightly further forward in the new physical layout, the images are covering an area of about 85m wide along the castle walls. Its dark brown surface is notoriously challenging for projections - however bright - and Ashton is using four PIGI 6K projectors with double rotating scrollers, which are fully loaded with film. These are supplied by White Light.
Another major visual advantage with all the changes is that LD Gerry Mott has been able to specify a completely new lighting rig, which is far more flexible and dynamic, and this has made a difference to the way that projection and lighting can work together. Responding to this, Ashton has developed a more monochromatic look, which is then highly effectively coloured with the application of carefully detailed and focussed lighting.
(Jim Evans)
