The Seychelles Sports Complex at Roche Caiman simply looks great from the air. We already had taken various shots. Just as it is, or with a football match on, the pools, karting races etc.Somehow, although really photogenic in the afternoon light, the big complex always looked lifeless. It just needed more… lots of people. And then our National Day came up. THE opportunity. And the weather was simply perfect as well. We went to get the general shots in the morning, because we had to re-charge our batteries in order to achieve our goal in the late afternoon: film the

The Making of SEYCHELLES FROM THE AIR part 2 by Doris If you want to know what this is – read on… The making of SEYCHELLES FROM THE AIR earned me quite a few queer looks. Some people even gave me a wide berth, as they did not exactly know what to make of an elderly female standing on the beach or in the middle of the pavement staring into the sky with hectic head movements, emitting strange sounds, giving loud orders and sometimes cursing aloud without any smart app or head phones visible. Those are simply the attributes of

From the sound track of SEYCHELLES FROM THE AIR Viewers of the film like the melody we put behind the sunset shots at Anse Intendance/Mahe. It compliments the shots well and creates a certain ‘finality’ to this part of the film – before it moves on to Praslin and La Digue. Sounds on a film are not only something to fill a void, or to add a noise, as one might get the impression when watching so-called ‘modern’ commercial audio/video productions where a 20-second looped tinkle repeats itself to eternity. Sounds represent – as we see it – 50 percent