Behind the Scenes with High Gun: Maverick’s Cinematography Workforce

In these transient however unbelievable movies, award-winning cinematographer Claudio Miranda discusses behind-the-scenes footage, logistics, and shares tales from the set of the 2022 blockbuster High Gun: Maverick.

The sequel to the massively common 1986 authentic movie took so lengthy to be made as a result of the crew particularly wished to attend till the know-how was out there to seize all of it with sensible results. As Miranda says within the video: “This isn’t inexperienced display screen nonsense.”

He explains how among the cameras had been rigged in “actually unattainable locations,” which he says required the lenses concerned to be of unbelievable high quality whereas additionally being very compact. Since High Gun was extra about lengthy lenses, Miranda opted to make use of the Premiere 75-400mm T2.8-3.8 “everywhere.”

Whereas many smaller cameras and lenses like Zeiss Loxia and Voigtländer had been used for the close-up and in-cockpit pictures, to seize the motion and quick movement of the Fighter Jets, the cinematographers wished to maintain issues shot with lengthy zoom lenses.

“We wished to be acrobatic, we wished to get the jet down low. We wished to have the ability to financial institution in corners and pull all these critical Gs on all the pieces after which simply present that within the film,” he explains.

This meant capturing ground-to-air and air-to-air all in 4K utilizing the Sony Venice digicam. Because of a protracted lens, they might construct every kind of nice foreground parts coming by way of the body.

Because of the dimension of the gimbal rigs and enclosures, the cinematography crew was restricted within the area they needed to work with for lens decisions, which they are saying led them to make use of Fujinon lenses as the first alternative. Over the course of the movie, the crew leveraged quite a lot of Cabrio, Premier, and Premista lenses from Fujinon together with the Premista 28-100mm T2.9, Premier 14.5-45mm T2.0, Premier 18-85mm T2.0, Premier 24-180mm T2.6, Premier 75-400mm T2.8-3.8, Cabrio 19-90mm T2.9, Cabrio 20-120mm T3.5, Cabrio 85-300mm T2.9-4.0, and the Cabrio 25-300mm T3.5-3.85.

Miranda says he was very impressed with the lenses.

“[There is no] oddball barrel distortion while you’re zooming and there’s no vignetting, there’s no softening towards the perimeters. It’s all simply straight and maintains its subject of view all through the zoom vary,” he explains.

The crew additional particulars how the lenses additionally carried out exceptionally effectively in low mild eventualities the place different lenses “kind of disintegrate on the vast finish being lit at these ranges.”

When requested about upkeep and serviceability problems with the lenses, throughout the board the crew stated that they had no clue about something on that subject, as they merely didn’t have these issues with the Fujinon lenses stating they by no means needed to cease taking pictures and ship one again for service.

High Gun: Maverick is a real love letter to aviation, and the behind-the-scenes video exhibits simply how a lot preparation, talent, and teamwork it took to make the completed product.

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