How cinematography, editing fly ‘Top Gun: Maverick’ into the danger zone

Cinematographer Claudio Miranda had an inkling “Top Gun: Maverick” might perform well at the box office opening weekend after he and director Joseph Kosinski boarded a plane and half the passengers were watching the film on their seat-back screens. “It was a real surreal moment,” says the “Life of Pi” Oscar winner, who’s collaborated with Kosinski on all of his features to date including the 2013 sci-fi thriller “Oblivion” that also starred Tom Cruise.

But before the popcorn was buttered and moviegoers felt the rush of being inside F-18 fighter jets, the hurdle for the creative team was the determination to photograph the sequel’s aerial work practically. “Our main theme was to be in-camera and to do something that hasn’t and may not be done again,” says Miranda.

It meant the actors would go through an extensive training program in order to sit inside a cockpit pulling over 7Gs of force. To capture the visceral high-flying affair, each jet was configured with six Imax-quality Sony Venice cameras with four facing the actor from different angles and two looking forward. Additional ground to air, helicopter to jet and jet to jet cameras intensified the action. Before every flight, extensive briefings were held determining the best route, angles and lighting, which Miranda backlit as much as possible.