I'd love to do an air gun show! We feature the Benjamin Marauder .25 and the super-cool Air Force Talon .177 on SHOOTING GALLERY for next season. I'm hoping I can use the air rifles and the suppressed .22s to try and keep up with the skills over the winter.
The crushing burden for most shows is the budget. Every year we go in and fight for more money for the shows, because that's how we make them better. For example, we're now using the Phantom ultra-high-speed camera for everything, and that baby is a $150K trick. We usually run 3 videographers (a full time specialty camera operator for POVs , etc), a sound technician and 1 or 2 producers (one will usually handle some specialty video as well). In a pinch, like Brazil or the Philippines, we can do the show with me and one person, but that person has to be really, really good— in Brazil, it was Producer John Carter, who had 7 years producing the Tour de France, did the first live broadcast from Everest Base Camp, the adventure race across Vietnam, etc. In the Philippines, my partner was Brook Aitken, who shared an Academy Award for cinematography for the movie The Cove.
Anyway, I feel for the guys who have such passion but a budget of kibbles and bits. And heck, I'll probably be back there one of these days! The way down is every bit as steep as the way up!
Michael B