Studio cameras are usually mounted wheeled pedestals which enable the cameras to move smoothly over the floor of the TV Studio. Depending on programme requirements the camera could be mounted on a motorised crane, jib arm, clamped to the cyclorama rail, lighting grid or hand held.
Apart from Presentation Studios and Weather Studios which usually have only one person to a single camera, the average studio has a minimum compliment of three cameras and some times many more.
The pedestal camera requires a single operator, a small motorised crane requires a driver and camera operator whereas the larger motorised cranes with a swinging boom-arm require a driver, boom swinger, camera operator and a camera assistant to handle the camera and power cables.
With the development of smaller, lighter cameras the use in studio (and elsewhere) of a counter balanced jib-arm mounted on a pedestal, tripod or wheeled base became practical. This enables the camera mounted on a remote control hothead at it's end, to move in an arc over a range of heights from ground level up to an overhead high shot. The camera is controlled remotely from a control box mounted at its lower end, by the operator who sees the camera output on a small monitor attached to the arm.
Presenter and News Reader cameras are usually mounted with an Auto Cue. This device consists of a pane of clear (optically corrected) glass mounted in front of the lens at forty five degrees to the eye line of the presenter and at forty five degrees to a small picture monitor mounted underneath the lens. This allows a scrolling, word processed script to be fed into the small monitor which is reflected in the pane of glass for the presenter to read while the camera sees the presenter through the glass looking into the lens. The picture to the right shows the AutoCue opperators mobile work station on the studio floor
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