In the broadcasting industry, different types of cameras are clearly distinguished—be it studio cameras, shoulder cameras, cinema cameras, PTZ cameras, BOX-type cameras, or others. Today, we want to talk about the difference between studio cameras and shoulder-mounted cameras. What is the difference between them, which one is more optimal for your production, and we will help you get the information needed for making the right choice.

The categorization of cameras was initially started by camera manufacturers themselves. Companies like Sony and Panasonic are well-known for producing multi-profile cameras. Sony divides cameras into five types: studio and broadcast cameras, cinema cameras, camcorders, PTZ cameras, and compact installation cameras. Approximately similar categorization is seen at Panasonic. However, studio or system cameras and recording cameras—whether shoulder-mounted or handheld—are always clearly separated from each other.

A studio camera stands out with its flexibility and convenience. First of all, we should mention that the primary role of a studio camera is to operate live. All the advantages of a studio camera become essentially null if the production setup isn’t broadcasting live. But what advantages are we talking about here? Firstly, this includes simple cabling. A studio camera operates using one optical hybrid cable. This single cable enables continuous power delivery to the camera, receiving video signals from the camera, provides two-way intercom communication with the operator, delivers signals to the teleprompter, the teleprompter’s front monitor, and often also powers the teleprompter monitor. Additionally, we have the capability to control camera parameters such as camera colors, aperture, and others. Also, we can copy settings adjusted on one camera to another camera by simply pressing a button—and all this in live mode. This is very convenient during dynamic shooting scenarios where lighting and scene elements change, and the operator, who is focused on camera positioning, adjusting focus, and other parameters, no longer needs to think about color and aperture adjustments.

Furthermore, it is noteworthy that hybrid optical cables operate over long distances, allowing the camera and the server room (control room) to be several hundred meters apart, or even 10 kilometers or more with the use of adapters. The studio camera connects to a camera control unit (CCU) located in the server room, receiving both video signals and power from it. From the perspective of signal switching, this is also highly convenient because the server room where you have the CCU can house the video switcher, enabling easy switching of video signals using short cables.

Also, there already exist modern cameras supporting the ST 2110 standard, allowing the direct reception of ST 2110 signals from the camera and local powering of the camera. To control the camera, an RCP (Remote Control Panel) is used, which includes all necessary buttons required by the video engineer to adjust camera signal parameters. There are various types of RCP panels: some have only screens, some come without screens, some RCPs can control multiple cameras, or there is even a software version of the RCP installed on a tablet or computer. However, the idea is always the same—to manage camera parameters live. Traditionally, each camera has its own RCP to simplify individual camera adjustments for the engineer.

In addition to the RCP, an MSU (Master Setup Unit) is also used. This device is used when we want to adjust parameters on all RCPs simultaneously with one action. The MSU is not mandatory but very convenient during multi-camera shooting. Moreover, a studio camera typically includes a large-sized screen, the so-called ViewFinder, where the operator clearly sees the image, and the screen receives power directly from the camera, thus requiring no additional power sources or extra video cables.

However, there are also drawbacks: most studio cameras do not record internally, cannot utilize the listed functions without a CCU and RCP, and, naturally, they are comparatively higher-budget solutions than the so-called camcorders.

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