A Camera Setup Checklist to Work Through Before You Decide

Most camera decisions that go wrong were made from a catalogue rather than from a running order. Before any rig is chosen, write down what the studio will actually broadcast: a three-minute news bulletin, a two-person interview, a panel with five guests, or a live show that moves between a desk, a sofa and a standing area. Each of these asks something different of the cameras, and the answers should come from the format itself.

I ask clients to bring two or three real running orders, not an idealised one. Look at how many shots are needed in a typical minute, how often the presenter moves, and whether a guest can arrive unannounced. A format that cuts quickly between close-ups needs different camera placement from one that holds a wide two-shot for long stretches. Settle this first and the rest of the checklist becomes much shorter.

• How many people appear on screen at once, at most
• Does anyone stand, walk or change position during a show
• How many shot sizes does the director really use
• Is the format fixed, or does it change week to week

A camera position that looks fine on a plan can fail in the room. Lens height, distance to the desk, the throw needed for a close-up and the clearance for cable runs all depend on measured dimensions, not estimates. Walk the floor with a tape and mark each intended camera position with tape, then sit someone at the desk and look through the viewfinder or a test monitor.

Check what sits behind each camera as well. A camera that faces a window, a glossy wall or a door that opens into the shot will cause trouble that no operator can fully correct. Note the ceiling height too, because it limits how high a pedestal can be raised and how much space remains for lights above the shot. Take photographs from each position while you are there; they are very useful when the decision is discussed later.

• Floor clearance for pedestals and for moving cable
• Background behind each lens, including glass and doors
• Ceiling height against lights and camera elevation

Robotic heads suit studios where the shots are repeatable and the crew is small. A news desk with fixed presenter positions is the usual case: one operator can recall saved shots for several cameras. Pedestal cameras suit formats that need a human eye, such as live interviews where the guest shifts or the director wants an unplanned reaction shot. Neither is better in general; the question is how much of the show is predictable.

Ask what happens when the format changes. A robotic system fitted for a desk-only show may be awkward if the studio later adds a standing segment. Ask also who will operate it and how much training they have had. A mixed arrangement, with robotics on the wide and desk shots and a single manned camera for roaming, is often the sensible middle, but only if the gallery can control both comfortably at once.

• How predictable are the shots from show to show
• Who operates the cameras and how experienced are they
• Will the format need to change within a few years

Camera placement and lighting cannot be decided in separate meetings. A lens that sits too close to a key light will pick up flare, and a camera position that shadows the presenter's face needs the fixtures moved, not the camera. Bring whoever plans the lighting into the conversation before positions are fixed, and agree the shot list as a shared document.

Think about how the picture will look across all cameras. Matching colour and exposure between a robotic head and a pedestal unit takes time and is much easier when the lighting is consistent and the camera settings are written down. Decide who is responsible for matching and when it is checked, whether at the start of each day or only at installation. Without that agreement, a studio can drift into slightly different looks per camera without anyone noticing until the footage is cut together.

• Keep camera lenses clear of direct key light
• Agree one shared shot list for cameras and lighting
• Record camera settings so the look can be restored

Cameras are only useful if their signals arrive reliably. Before deciding, ask how video, tally, intercom and camera control will each reach the gallery, and whether those paths are separate or share a single cable. A single point of failure is acceptable only if the crew knows exactly what to do when it goes. Ask what happens if a robotic head freezes mid-programme, and whether a manual override is within reach.

Fallback should be written, not remembered. A one-page note stating which camera covers which shot if another fails will save seconds when it matters. Test it at least once with the real crew rather than assuming it works. This is the least glamorous item on the list, and the one that most often separates a studio that recovers quietly from one that goes to a holding slide.

• Separate paths for video, tally and intercom where possible
• Manual override reachable at every robotic camera
• A written fallback shot plan tested with the real crew

The last part of the checklist is the least technical. Count how many people will be in the studio during a live show and what each of them does. A rig that needs three operators is a poor choice for a team of two, however good the pictures. Then look at the full cost: not only the purchase but installation, training, cable, mounting and the support you will need afterwards.

Ask about maintenance too. Pedestals need lubrication and inspection, robotic heads need their firmware and calibration looked after, and lenses need cleaning and checking. Decide who does this and how often. A camera system that nobody owns gradually degrades, and you notice only when a shot no longer matches the one before it. Put a name beside each task before you sign anything.

• Crew numbers against what each rig demands
• Whole cost, including installation and training
• A named person for routine maintenance