Top Gun Maverick Behind the Scenes: The Breathtaking Art of Aerial Cinematography

When “Top Gun: Maverick” soared into theaters in 2022, it didn’t just break box office records; it left audiences and critics alike breathless with its stunning aerial sequences. The long-awaited sequel to the 1986 classic pushed the boundaries of what’s possible in cinematic aviation, delivering a visual spectacle that’s as close to the real deal as most of us will ever get.

But how did they do it? How did director Joseph Kosinski and his team manage to put us right there in the cockpit, feeling every G-force and heart-pounding maneuver? The answer lies in a combination of cutting-edge technology, old-school filmmaking techniques, and a whole lot of guts. In this article, we’ll dive deep into the behind-the-scenes magic that brought “Top Gun: Maverick” to life, focusing on the revolutionary aerial cinematography that’s set a new standard for action filmmaking.

Chapter 1: Recapturing the Top Gun Look

Remember that iconic Top Gun look? Sun-kissed skies, lens flares, and pilots in perpetual golden hour? That wasn’t an accident. It was the brainchild of original director Tony Scott, who created what Joseph Kosinski calls the “Top Gun cinematic universe.” And in “Maverick,” Kosinski and cinematographer Claudio Miranda were determined to honor that legacy.

“Tony created a world,” Kosinski explains. “It’s like the ‘Top Gun’ cinematic universe where the sun is always setting, everything’s backlit, everyone looks great. Just as Maverick gets called back to ‘Top Gun,’ I really wanted the audience to feel like they were going back to ‘Top Gun’ as well.”

This meant more than just copying Scott’s style; it meant understanding it. Both films used anamorphic lenses and a 2.39:1 aspect ratio (except when “Maverick” opened up to the massive IMAX ratio of 1.90:1 for those sweeping aerial shots). They even shot in some of the same locations, from the sun-baked deserts around Fallon, Nevada, to the naval bases in San Diego.

But the real magic was in the lighting. In the original, Scott used what are called “sunset grads” – graduated filters that add an orange tint to the sky. For “Maverick,” Miranda digitally emulated this effect in post-production. It’s a subtle nod to the original that helps transport us back to that world.

Even the opening credits sequence is a loving homage, with the same font, music, and flight deck montage that launched a thousand aviation dreams back in ’86. It’s like stepping into a time machine, only this time, the technology has made a quantum leap forward.

Chapter 2: Pushing the Limits of Aerial Cinematography

Now, let’s talk about what really sets “Maverick” apart: the aerial sequences. In an age where CGI and green screens reign supreme, Kosinski and his team decided to do something radical – they decided to do it for real.

“It was about capturing the experience of actually being in one of these fighter jets while it’s in the air,” Kosinski says. No LED volumes, no green screens. Just real planes, real pilots, and real G-forces.

But capturing reality at Mach 2 is no small feat. The crew used three types of footage:

1. Ground-to-air: Shooting planes from the ground
2. Air-to-air: Filming from other planes or helicopters
3. Onboard: Cameras inside and outside the jets

Each perspective adds a different flavor to the action. Ground shots give us that sense of raw speed, air-to-air provides geography and context, and the cockpit cameras? They put us right there with Maverick and his team, feeling every twist and turn.

Getting these shots required some serious hardware. Ground crews used telephoto lenses up to 1000mm, even doubling that with extenders. And to track those tiny specks in the sky? They mounted modified rifle scopes on the cameras. Talk about precision!

But the real star of the show was in the air. Enter the CineJet, a modified L-39 Albatros jet with a Shotover F1 rush gimbal on its nose. This beast could operate at over 350 knots and pull nearly 3Gs, all while keeping the camera rock-steady. And when they needed more range, they brought in an Embraer Phenom 300, a bigger, faster jet with two Shotover units.

But here’s the thing about jet-to-jet filming – when both camera and subject are moving at the same speed, the planes can look like they’re just floating. To fix this, they brought in an Airbus H125 helicopter with a Shotover K1 gimbal. From the chopper, you really feel that velocity. They even dropped the frame rate to 18fps in some shots to amp up the speed.

Chapter 3: The Game-Changer – Onboard Cameras

Now, let’s talk about the real innovation: onboard cameras. In the 1986 film, most cockpit shots were done on a soundstage with rear projection. Not in “Maverick.” Here, they developed a system to film the actors live, in-flight, pulling real Gs.

First, the actors underwent months of Navy pilot training. This wasn’t just for safety; it was so they could handle the physical demands of high-G maneuvers without, well, losing their lunch.

The Navy provided three F-18 Super Hornets. Two for interior cockpit shots, one for exteriors. The exterior jet had four cameras: nose, wing, and two under the belly. But the extra weight limited its maneuvers, which is why they needed the CineJet and helicopter for the really intense stuff.

Inside the cockpit, it’s like a tiny movie studio. Six cameras: four in front, two behind the shoulders. This gave them multiple angles in a single take. In fact, the side cameras were used for the 270-degree ScreenX presentations. Imagine being completely surrounded by the inside of an F-18 cockpit!

The cameras were Sony Venice models with wide-angle Voigtländer lenses. And here’s the clever part: three cameras used the Rialto system, which separates the lens and sensor from the recorder. This saved crucial space in the cramped cockpit.

But with great realism comes great challenges. Once airborne, there’s no adjusting. The actors turned the cameras on themselves, and exposure was preset. Miranda had to map flight paths, check weather, and lock in settings before each flight. And lighting? Just the sun. Pilots flew east or west with the sun at three-quarters, giving that classic Top Gun backlight.

Conclusion: The Real Deal in a CGI World

In an era where CGI can make anything possible, “Top Gun: Maverick” is a testament to the power of the real. No green screens, no fakery. Just real planes, real pilots, and a dedication to putting you in the danger zone.

We’ve never seen a production go this far for authenticity. The logistics were staggering, the technology groundbreaking. But the result? A cinematic experience that’s as close to being a fighter pilot as most of us will ever get.

“Top Gun: Maverick” isn’t just a sequel; it’s a challenge to the film industry. In a world rushing towards digital shortcuts, it dares to say, “There’s no substitute for the real thing.” And in doing so, it’s not just broken records; it’s set a new bar for action filmmaking.

So the next time you watch Maverick and his team scream across the sky, remember: what you’re seeing isn’t Hollywood magic. It’s the real deal, captured with a blend of cutting-edge tech and good old-fashioned guts. And that, more than anything, is why “Top Gun: Maverick” will be remembered as a landmark in cinematic history.