Cameras
The camera matters less than what's around it
Lighting, sound and the room account for most of what people perceive as production value. The camera is the easiest thing to upgrade later and the one most briefs start with — which is why it's worth deciding last, deliberately. This is how Meros specifies cameras for studios in Sydney.
01 — The shortlist
Camera types by use case
Four categories cover almost every studio build. The right one follows from who operates it and what leaves the room.
Mirrorless and DSLR cameras
Large sensor, interchangeable lenses, excellent image for the money. Needs a clean HDMI or SDI output for live work and a power solution for long sessions. Best for: creator studios and small teams producing recorded content, where image quality per dollar matters most and someone competent is behind it.
Cinema cameras
Built for continuous recording, with better codecs, proper audio inputs, and thermal design for all-day operation. Best for: studios producing high-end brand or commercial work, or anywhere a shoot day runs unattended for hours at a time.
PTZ cameras
Pan, tilt and zoom driven remotely, usually wall or ceiling mounted, with a single cable carrying video, control and power. Best for: corporate, education and broadcast rooms with no dedicated operator — the whole point is nobody standing behind it.
Camcorders and box cameras
Long zoom range, simple operation, built for live signal out rather than file recording.
Best for: multi-camera live production and hire studios, where reliability and a consistent signal chain beat sensor size.
02 — The spec that matters
Why sensor size matters more than megapixels
Resolution is the number on the box. Sensor size is the number that changes how the picture looks.
A larger sensor gathers more light per pixel, which means cleaner images in the light you actually have rather than the light a spec sheet assumes. In a studio that matters less than in the field — but it's the difference between needing three fixtures and needing one.
It also controls depth of field. The separation between a sharp subject and a soft background that reads as "professional" is largely a sensor-size effect, and no amount of resolution substitutes for it.
Resolution past 4K is mostly irrelevant for studio delivery. Almost nothing is watched above 4K, and the practical benefit of shooting higher is reframing in post — useful, but a workflow choice rather than a quality one.
Where extra resolution does earn its place is a single-camera setup cropped into multiple framings, letting one camera behave like two. That's a genuine reason to shoot 4K and deliver 1080p.
03 — Unmanned rooms
PTZ cameras for unmanned studios
The category most often dismissed on image quality and most often correct for corporate and education rooms.
A PTZ camera mounts out of the way, runs on one cable, and is driven from a controller or a laptop. Nobody has to stand behind it, and nothing has to be set up — which in a room operated by people between other jobs is the entire argument.
Modern PTZ image quality is far better than its reputation, particularly in a room that's properly lit. The gap that remains is in low light and shallow depth of field, both of which a studio build largely removes as problems.
Preset positions are the real feature. Wide, mid and close framings stored and recalled instantly mean a single operator can run a three-angle production from a laptop, or a presenter can run it themselves.
The trade is optical: a smaller sensor and a fixed lens range. If your output depends on a shallow, cinematic look, PTZ is the wrong tool. If it depends on the room being usable on a Tuesday afternoon by whoever is available, it's usually the right one.
04 — Brands
The right camera for your content, from the brands we work with
There's no best camera brand — there's the right camera for what you produce, who operates it, and where the footage goes. Meros works across the major manufacturers and specifies whichever fits the job.
Canon
Mirrorless cameras, the Cinema EOS line for professional video, and PTZ cameras. A common choice for corporate and education studios that want dependable, consistent colour across several cameras.
Sony
One of the broadest ranges available: Alpha mirrorless cameras, the Cinema Line, broadcast camcorders and PTZ cameras. Covers everything from a single-creator setup to a multi-camera broadcast room.
Fujifilm
Mirrorless cameras known for their colour rendering and film-style looks, including larger-sensor medium-format options. Well suited to photography-led studios and creators who shoot both stills and video.
Nikon
Mirrorless cameras with strong video capability, well suited to hybrid photo and video studios. Nikon also owns RED.
RED
High-end cinema cameras built for commercial, film and premium brand production, where the highest image quality and flexibility in post-production matter most.
ARRI
The long-standing standard in feature film and high-end commercial production. Specified where a studio is built for the very top end of cinema work.
Blackmagic Design
Cinema cameras and studio cameras designed to work alongside its ATEM switchers. A strong value option for multi-camera live production and studios that want a complete, compatible system.
BirdDog
PTZ and studio cameras built around NDI, sending video, control and power over a standard network cable. Popular for corporate, education and streaming rooms run without a camera operator.
DJI
Gimbals, stabilised cameras and compact cameras, used where a studio needs smooth handheld movement or mobile content alongside its fixed cameras.
Other PTZ manufacturers
For unmanned rooms, Meros also works with other established PTZ camera makers, matching the camera to the room's control system, streaming platform and budget.
05 — Learn from others
Common camera mistakes
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Spending the majority of the budget on the camera and leaving the lighting and sound underfunded — the two things viewers actually notice.
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Buying a stills-first mirrorless with a recording limit, then discovering it at the first long session.
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Ignoring how the camera is powered and cabled, so a permanently installed studio runs on batteries somebody has to remember to charge.
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Choosing a camera nobody in the building can operate confidently, in a room designed for non-specialists.
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Matching two cameras by brand but not by settings, so the cut between angles shifts colour and exposure.
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Mounting a PTZ where it can see the room but not where it produces a flattering angle — usually too high.
Camera FAQs
What camera brands do you commonly work with?
Meros commonly works with Canon, Sony, Fujifilm, Nikon, RED, ARRI, Blackmagic Design, BirdDog and DJI, along with other PTZ camera manufacturers. There's no single best brand — the right camera depends on what you produce, who operates it and where the footage goes.
Do you need a cinema camera for corporate video?
Usually not. For most corporate video, a good mirrorless camera or PTZ camera in a well-lit room delivers the result, and the budget is better spent on lighting and sound. Cinema cameras earn their place for high-end brand work or long, unattended shoot days.
Are PTZ cameras good enough for professional studio video?
In a properly lit studio, yes. Modern PTZ cameras produce clean, professional images, and their presets let one person run a multi-camera production. The trade-off is a smaller sensor, so they're not the right choice if your content depends on a shallow, cinematic look.
How many cameras does a podcast studio need?
Most video podcasts work well with one wide shot plus one closer camera per host. Two people usually means three cameras; a single presenter can work with one or two, especially if a 4K camera is cropped into multiple framings.