Editing Professional video camera (section)

== Usage types ==
Most professional cameras utilize an optical [[prism (optics)|prism]] block directly behind the lens. This prism block (a trichroic assembly comprising two [[dichroic prism]]s) separates the image into the three [[primary color]]s, red, green, and blue, directing each color into a separate [[charge-coupled device]] (CCD) or [[Active pixel sensor]] (CMOS image sensor) mounted to the face of each prism. Some high-end consumer cameras also do this, producing a higher-resolution image, with better color fidelity than is normally possible with just a single video pickup.

In both single sensor [[Bayer filter]] and triple sensor designs, the weak signal created by the sensors is amplified before being encoded into analog signals for use by the viewfinder and also encoded into digital signals for transmission and recording. The analog outputs were normally in the form of either a [[composite video]] signal, which combined the color and luminance information to a single output; or an R-Y B-Y Y [[component video]] output through three separate connectors. 

===Studio cameras===
[[File:Cámaras Sony 1 (cropped).JPG|thumb|Studio camera, studio lens and [[teleprompter]] (from left to right) on a pedestal]]
Most [[television studio]] cameras stand on the [[floor]], usually with [[pneumatics|pneumatic]] or [[hydraulics|hydraulic]] mechanisms called [[Camera pedestal|pedestals]] to adjust the [[height]] and position in the studio. The cameras in a multiple-camera setup are controlled by a device known as a [[camera control unit]] (CCU), to which they are connected via a [[Triaxial cable|triax]], fibre optic or the almost obsolete [[multicore cable]]. The CCU, along with [[genlock]] and other equipment, is installed in the [[central apparatus room]] (CAR) of the television studio. A remote control panel in the [[production control room]] (PCR) for each camera is then used by the vision engineer(s) to balance the pictures.

When used outside a formal television studio in [[outside broadcasting]] (OB), they are often on tripods that may or may not have wheels (depending on the model of the tripod). Initial models used [[Analog signal|analog]] technology, but are now obsolete, supplanted by [[digital data|digital]] models.

Studio cameras are light and small enough to be taken off the pedestal and the lens changed to a smaller size to be used handheld on a camera operator's shoulder, but they still have no recorder of their own and are cable-bound. Cameras can also be mounted on a [[tripod (photography)|tripod]], a [[camera dolly|dolly]] or a [[crane shot|crane]], thus making the cameras much more versatile than previous generations of studio cameras. These cameras have a [[tally light]], a small signal-lamp used that indicates, for the benefit of those being filmed as well as the [[camera operator]], that the camera is 'live' – i.e. its signal is being used for the 'main program' at that moment.

===ENG cameras===
[[File:Betacam SP camera.jpg|thumb|left|Sony camera head with [[Betacam]] SP dock recorder]]
ENG ([[electronic news gathering]]) video cameras were originally designed for use by news [[camera operator]]s. While they have some similarities to the smaller consumer [[camcorder]], they differ in several regards:

* ENG cameras are larger and heavier (helps dampen small movements), and usually supported by a [[camera shoulder support]] or shoulder stock on the [[camera operator]]'s shoulder, taking the weight off the hand, which is freed to operate the [[zoom lens]] control.
* The camera mounts on tripods with [[Tripod_head#Video_and_Film|Fluid heads]] and other supports with a quick release plate.
* 3 [[Charge-coupled device|CCDs]] or [[CMOS]] [[active pixel sensor]]s are used, one for each of the [[primary color]]s
* They have [[interchangeable lens]]es.
* The lens is focused manually and directly, without intermediate [[servo control]]s. However the lens zoom and focus can be operated with remote controls with a [[television studio]] configuration operated by a [[camera control unit]] (CCU).
* A rotating behind-the-lens filter wheel, for selecting an 85A and [[neutral density filter]]s.
* Controls that need quick access are on hard physical switches, all in the same general place on the camera, irrespective of the camera manufacturer, such as Gain Select, [[White balance|White]]/[[Black balance]], color bar select, and record start controls and not in menu selection.
* All settings, [[white balance]], [[Focus (optics)|focus]], and [[Iris (camera)|iris]] can be manually adjusted, and automatics can be completely disabled.
* Professional [[BNC connector]]s for video out and [[genlock]] in.
* Can operate an [[electronic viewfinder]] (EVF) or external [[cathode-ray tube|CRT]] viewfinder.
* At least two [[XLR connector|XLR]] input connectors for audio are included.
* Direct slot-in for portable [[wireless microphone]]s.
* Audio is adjusted manually, with easily accessed physical knobs.
* A complete [[time code]] section is available, allowing time presets; multiple-camera setups can be time code-synchronized or ''jam synced'' to a master clock.
* "[[Bars and tone]]" are available in-camera (the [[SMPTE color bars]] ([[Society of Motion Picture and Television Engineers]]) Bars, a reference signal that simplifies calibration of monitors and setting levels when duplicating and transmitting the picture.)
* Recording is to a professional medium like some variant of [[Betacam]] or [[DVCPRO]] or [[Direct to disk recording]] or [[flash memory]]. If as in the latter two, it's a data recording, much higher data rates (or less [[video compression]]) are used than in consumer devices.

===EFP cameras===
[[File:Sports cameraman at Comerica Park.jpg|thumb|upright|EFP camera operator at a baseball game]]
[[Electronic field production]] cameras are similar to studio cameras in that they are used primarily in multiple camera switched configurations, but [[Outside broadcasting|outside the studio]] environment, for concerts, sports and live news coverage of special events. These versatile cameras can be carried on the shoulder, or mounted on camera pedestals and cranes, with the large, very long focal length zoom lenses made for studio camera mounting. These cameras have no recording ability on their own, and transmit their signals back to the broadcast truck through a fiber optic, [[triax]], radio frequency or the virtually obsolete multicore cable.

===Others===

[[File:Cable car TV camera crop.jpg|thumb|left|upright|A [[Robotic camera|remote-controlled camera]] mounted on a miniature [[Aerial tramway|cable car]] for mobility]]
[[Remote camera]]s are typically very small camera heads designed to be operated by remote control. Despite their small size, they are often capable of performance close to that of the larger ENG and EFP types. 

Block cameras are so called because the camera head is a small block, often smaller than the lens itself. Some block cameras are completely self-contained, while others only contain the sensor block and its pre-amps, thus requiring connection to a separate camera control unit in order to operate. All the functions of the camera can be controlled from a distance, and often there is a facility for controlling the lens focus and zoom as well. These cameras are mounted on pan and tilt heads, and may be placed in a stationary position, such as atop a pole or tower, in a corner of a broadcast booth, or behind a basketball hoop. They can also be placed on robotic dollies, at the end of camera booms and cranes, or "flown" in a cable supported harness, as shown in the illustration.

[[Lipstick camera]]s are so called because the lens and sensor block combined are similar in size and appearance to a [[lipstick]] container. These are either hard mounted in a small location, such as a race car, or on the end of a boom pole. The sensor block and lens are separated from the rest of the camera electronics by a long thin multi conductor cable. The camera settings are manipulated from this box, while the lens settings are normally set when the camera is mounted in place.
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