When I was first approached by Nat Geo and Disney +about talking to the filmmakers of Top Gun: The Next Generation, my mind first went to crazy stunts of the Tom Cruise films and how all of the BTS showed insane stomach-turning stunts.

In true Nat Geo fashion, the situation revealed itself as personal stories of the journeys of the pilots making their way to flying the most sophisticated aircraft the US has ever produced. This is not about Goose. This is about real people pushing personal limits reaching for the coveted “wings of gold”.

The 6 episode series documents the lives of the people who strive to achieve the ultimate military flying status.

Student 1st Lt Chuck Kent poses behind a T-45. (Credit: National Geographic/Freddie Claire)

Sure, there is some air-to-air footage, actually shot by those who DID shoot Top Gun movies.

Four jets fly in close formation. (Credit: National Geographic)

For these more personal stories they brought on one of the finest documentary cinematographers, Jon Sayers.

DOP Jon Southgate-Sayers films in front of an F-18. (Credit: National Geographic/Evan Parker)

One of the definitive skills of a doc DP is the ability to have the subjects feel comfortable and pretty much forget that the film crew is there. His humanity translates through his camera to bring you that intimate feel to the stories.

Student 1st Lt Austin Claggett prepares for his next test. (Credit: National Geographic)

As you’ll get lost in the stories, I know you’ll also forget there was any camera crew present.
Yes, it’s a limited crew DP, Audio with assist, director, and of course an assist camera person. It could expand if needed.

DOP Jon Southgate-Sayers and sound recordist Phil Bax following student 1st LT Austin Clagget and his instructor on the way to their jet. (Credit: National Geographic/Freddie Claire)

The gear they used were Red Raptor cameras for quality and of course size.
The lenses used were Black Wing primes.
The Easy Rig camera mount made smooth moves in and out of a scene smooth.
Love an Easy Rig!
Although they had a lighting package available, it was mostly not used.
When you shoot documentary, the least amount of set gear the better.
And using natural light allows you to set-up and shoot with speed.

A T-45 about to touchdown onto the USS Eisenhower (CVN-69). Its hook is ready to catch the wire. (Credit: National Geographic/Chris Parkin)

Now, even though the aerial cinematography was done by the Top Gun folks, you’ll get a chance to see some of the finest use of Go-Pros ever, set by Jon Sayers and his team! Within the cockpit shooting towards the pilot, their trainers, the instruments and sometimes an interior mounted go-pro facing out gives you that flight intimacy that feels natural.

Student Captain Micah Nissly in the cockpit. (Credit: National Geographic)

Honestly, even though I know with the editing you pick the best shots, the light on the pilots was perfect!
The cameras were bolted in and sometimes that did have to switch them out between planes because how many Go-Pros can you bolt in? After all there were multiple stories being told, and each one used different planes.

Another key factor was the sound. In the cockpit, the pilots were wired and all of the interior audio, not just if the conversations, but the manipulations of the instruments were recorded to media cards to be retrieved later

Overall, the shoot took about a year, shooting 2-3 weeks a month.
Check it out to see the human stories and find out who makes the penultimate achievement in the end!

Students Spenser Neel, LTJG Dylan Horan, Captain Steph Harris, and Captain Micah Nissly pose together in the paraloft. (Credit: National Geographic/Freddie Claire)

Yes, the music, as always, adds to the stories, giving dramatic pauses and bringing you through the storyline.
Think there is a major crescendo in the last of the series?
You’ll feel it!

Another brilliantly crafted documentary series by Nat Geo and Disney +!
Not just your action series, but human journeys told in the best way.

TOP GUNS: THE NEXT GENERATION Premieres Sept. 16 at 9/8c on National Geographic and Streams Next Day on Disney+ and Hulu