Industry Insights: The role of studio cameras in connected production

As studios evolve to serve both linear and digital audiences, broadcast camera systems remain at the heart of the production ecosystem.

In this Industry Insights roundtable, leading manufacturers discuss how modern studio cameras are being engineered for versatility — from native IP integration and HDR/SDR workflows to compact all-in-one form factors and advanced color science. The conversation explores how these systems are adapting to LED-rich environments, virtual production and hybrid infrastructures that merge SDI and ST 2110.

The result is a detailed look at how camera technology is shaping studio operations and image quality today and where innovation is headed next. Continue exploring this Industry Insights series with discussions on PTZ cameras, cinema cameras and camera robotics.

Key takeaways from this Industry Insights roundtable

• Integrated connectivity: Broadcasters are prioritizing native IP and cloud-connected cameras to streamline infrastructure and improve scalability.
• LED-optimized imaging: Global shutters and advanced optical filters are becoming essential for moiré-free images in LED-heavy and AR/VR environments.
• Flexible HDR workflows: Studios increasingly rely on simultaneous HDR/SDR pipelines with built-in LUTs to maintain consistent output across formats.
• Lens versatility: Reliable, high-resolution lenses capable of serving both 4K and 8K production remain critical for multi-use studio environments.
• Efficiency and ergonomics: Demand is rising for compact, intuitive camera systems that simplify operation without compromising performance.

What camera features are being prioritized for live broadcast environments today?

Bob Caniglia, director of sales operations, Americas, Blackmagic Design: Broadcasters are looking for cameras that can easily adapt to a range of studio setups, from traditional control room workflows to virtual production environments, while maintaining the highest possible image quality. Robust color science technology and 4K resolution at a minimum are essential for delivering a premium viewing experience. Integration is also key — broadcasters want cameras with cloud connected capabilities, and those that play well with IP-based infrastructure.

Klaus Weber, director product marketing, Grass Valley: One of the key challenges for cameras in live productions is the increasing use of LED walls and AR/VR applications. To achieve moiré-free image reproduction, it is essential to use cameras equipped with global shutter imagers, combined with specially designed optical low-pass filters optimized for the pixel structure of LED walls. However, many AR/VR applications also require flexible control over the camera’s exposure timing. To enable this, in addition to an electronic shutter, the camera must incorporate an image store that allows a variable delay between the imager output and the subsequent signal processing.

How have higher resolution formats, such as 4K and 8K, impacted broadcast camera workflows?

Bob Caniglia, director of sales operations, Americas, Blackmagic Design: The biggest shift is in bandwidth and storage requirements. Moving to 4K or higher means broadcasters need infrastructure that can handle much larger data streams, both live and in post. This includes everything from higher resolution switchers and routers to better network connectivity.

How are broadcast studios managing camera integration within IP-based production infrastructures?

Michael Bergeron, senior product manager, live video production ecosystems, Americas, Panasonic: New cameras are ST 2110 IP native, simplifying integration since the camera base station can be connected to multiple IP networks at once. We’re seeing control units offering ST 2110 connectivity for studio cameras, while also supporting other network protocols such as Dante Audio, NDI, and SRT networks. With all IP connections, the camera base station can even be eliminated entirely, which simplifies infrastructure and significantly increases flexibility for studios when scaling the number of cameras connected to the network.

Bob Caniglia, director of sales operations, Americas, Blackmagic Design: Studios are prioritizing cameras that either have native IP connectivity or that have other seamless SDI-to-IP bridge options. Interoperability is key. Studios want gear that works well with existing routing, control and monitoring systems without adding complexity.

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Klaus Weber, director product marketing, Grass Valley: Fully uncompressed ST 2110 IP connections at the camera base station can directly replace traditional SDI interfaces. For applications where bandwidth or remote operation is a concern, compressed IP-based options — such as NDI, SRT, or ST 2110 with JPEG XS — offer greater flexibility. Another approach is to connect camera heads directly to IP networks using NativeIP technology, which provides the deepest level of IP integration, including full support for redundant operation.

What challenges do broadcasters face when transitioning to higher dynamic range (HDR) studio productions?

Michael Bergeron, senior product manager, live video production ecosystems, Americas, Panasonic: Even with an HDR workflow, operators still need to support SDR screens which remain widely used. HDR devices must also provide an SDR image, requiring offset adjustments as conversions vary. To ensure consistent image quality across both formats, a common solution is to use simultaneous HDR/SDR workflows with conversion tools to map HDR content to SDR.

Klaus Weber, director product marketing, Grass Valley: Most HDR live productions today still require an uncompromised SDR signal for the majority of viewers, making a simultaneous HDR/SDR workflow essential. The “closed-loop shading” workflow has been established to ensure optimal image quality in both formats. To minimize the need for additional down-conversion hardware — and to reduce potential points of failure — it is crucial that camera heads include HDR-to-SDR LUT processing within the internal camera system, with the capability to load custom LUTs.

What considerations influence the selection of lenses for broadcast studio cameras?

Hiroto Kato, VP, imaging products and solutions, business planning and strategy, Canon: Reliability of performance and flexibility are the greatest considerations influencing lens selection for broadcast cameras. They need to resolve for both 4K and 8K, and be flexible enough for use in a studio or in the field, for live sports and at town halls, and everywhere in between. The ideal lens mix for studios is comprised of medium-range broadcast lenses, for example the portable CJ27ex7.3B with a range of 7.3mm to 394mm with the built-in 2x extender, and studio box lenses, such as the 6.5mm to 360mm (with 2x extender) UJ27x6.5B.

What else should we be considering or talking about with regards to studio cameras?

Bob Caniglia, director of sales operations, Americas, Blackmagic Design: We’re increasingly seeing interest in all-in-one solutions that simplify production without compromising quality — cameras that are not just high performance, but also efficient, lower profile and intuitive to operate, even for smaller crews. The latest advancements have made it possible to achieve excellent image quality with more compact and affordable studio cameras.