1

Studio Camera Operator Jobs in Florida (NOW HIRING)

No crew, no second operator. * Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works. * Fast ...

No crew, no second operator. * Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works. * Fast ...

No crew, no second operator. * Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works. * Fast ...

No crew, no second operator. * Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works. * Fast ...

No crew, no second operator. * Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works. * Fast ...

... operating appropriately within specifications and correct programming is being televised ... Must have multi-camera studio experience, including switching and directing * Ability to edit on ...

... operating appropriately within specifications and correct programming is being televised ... Must have multi-camera studio experience, including switching and directing * Ability to edit on ...

Experience operating cameras and capturing high-quality video content is a strong plus (studio and/or on-location). * Familiarity with photography, including composition, lighting, and post ...

Work Environment The role is primarily based in an office and studio setting and routinely involves ... Physical Demands This role involves extended periods of sitting and standing while operating camera ...

Work Environment The role is primarily based in an office and studio setting and routinely involves ... Physical Demands This role involves extended periods of sitting and standing while operating camera ...

Showing results 41-57

Studio Camera Operator information

See Florida salary details

$10

$21

$46

How much do studio camera operator jobs pay per hour?

As of Aug 24, 2026, the average hourly pay for studio camera operator in Florida is $21.05, according to ZipRecruiter salary data. Most workers in this role earn between $12.93 and $22.84 per hour, depending on experience, location, and employer.

What is a studio camera operator?

Studio camera operators are professionals responsible for operating cameras during television, film, or live broadcast productions within a studio environment. They work closely with directors and other production staff to capture the desired shots, angles, and movements according to the script or production plan. Their duties may also include setting up equipment, adjusting camera settings, and ensuring smooth transitions between scenes. Attention to detail, technical expertise, and good communication skills are essential for this role. Studio camera operators play a key part in delivering high-quality visual content to audiences.

What are the key skills and qualifications needed to thrive as a studio camera operator, and why are they important?

To thrive as a Studio Camera Operator, you need a solid understanding of camera operation, lighting, and shot composition, often supported by a degree in film, broadcasting, or related experience. Familiarity with broadcast cameras, video switchers, and sometimes certification in camera operation or broadcast technology is typical. Attention to detail, teamwork, and the ability to follow direction under pressure are essential soft skills in this role. These skills ensure precise visual storytelling and smooth production flow in high-pressure, live studio environments.

What are some common challenges studio camera operators face during live broadcasts, and how can they be managed?

Studio Camera Operators often encounter challenges such as adapting to last-minute production changes, maintaining smooth camera movements under pressure, and ensuring precise framing during live broadcasts. Managing these challenges requires strong communication with directors and other crew members, quick problem-solving skills, and the ability to stay focused in fast-paced environments. Regular practice, familiarity with equipment, and attentiveness to cues help operators deliver high-quality visual content consistently.

What is the difference between Studio Camera Operator vs Camera Assistant?

AspectStudio Camera OperatorCamera Assistant
CredentialsRelevant camera operation certifications, technical trainingBasic technical knowledge, sometimes certifications
Work EnvironmentTelevision studios, live broadcasts, production setsOn-set support, assisting camera operators, equipment prep
Employer & IndustryTV stations, production companies, broadcasting industryTV studios, film sets, live event productions
Search & Comparison IntentUnderstanding roles, job requirements, career pathEntry-level support, learning camera operation

The Studio Camera Operator and Camera Assistant roles are closely related in the broadcasting industry. The Camera Assistant typically supports the camera team by handling equipment setup and maintenance, while the Studio Camera Operator is responsible for operating the camera during broadcasts. Both roles require technical knowledge and work in similar environments, but the Camera Operator has more direct responsibility for capturing footage. Understanding these differences helps job seekers identify the right position for their skills and career goals.

Do studio camera operators make good money?

Studio camera operators typically earn a median annual salary that varies by location and experience, with entry-level positions starting lower and experienced operators earning higher wages. Factors such as certification, technical skills, and the size of the production can influence earnings, and some may work irregular hours or on freelance projects. Overall, the profession offers a stable income but may require additional skills and experience to increase earning potential.

How much do you get paid as a studio camera operator?

Studio camera operators typically earn between $30,000 and $70,000 annually, depending on experience, location, and the employer. Entry-level positions may start lower, while experienced operators working on high-profile productions can earn higher salaries, often supplemented with benefits and overtime pay.

What are popular job titles related to Studio Camera Operator jobs in Florida?

For Studio Camera Operator jobs in Florida, the most frequently searched job titles are:

What job categories do people searching Studio Camera Operator jobs in Florida look for?

The top searched job categories for Studio Camera Operator jobs in Florida are:

Infographic showing various Studio Camera Operator job openings in Florida as of August 2026, with employment types broken down into 47% Full Time, 51% Part Time, 1% Contract, and 1% Nights. Highlights an 99% Physical, and 1% Remote job distribution, with an average salary of $43,779 per year, or $21 per hour.

Senior Content Creator

Rossen Law Firm

Boca Raton, FL • On-site

Other

PTO

This job post has expired today. Applications are no longer accepted.


Job description

I am building toward $100 million in annual revenue across my companies within eight years. That does not happen quietly. To get there, I have to be known. Not locally known. Known as a legal tech forward-thinker, as the operator other law firm owners study, as a creator with a real following inside the legal world. Everything I am building runs on lawyers and firm owners knowing exactly who I am and what I have built.

Right now, I am not that at anywhere close to that scale this requires.

The raw material is not the problem. I speak fifteen to twenty times a year at conferences and events. Five times this year alone on AI to Florida criminal defense lawyers. I run a nationally renowned ten-week summer internship program. If you read that and thought I am sitting on something big and wasting it, you are right. That is the correct reaction, and it is the whole reason this job exists.

I am building a criminal defense firm scaling to over eight figures in revenue a year. A legal technology company. A coaching and consulting practice. Several other ventures I am not going to detail publicly. I teach Criminal Law and Procedure five days a week, and I have coached basketball since 2004, including a state championship in 2014.

To be clear about what this is not. You are not doing law firm marketing. The firm has its own marketing team and its own YouTube channel with over 50,000 subscribers built for people facing criminal charges. Different audience, different job, not yours. You work on my personal brand, and you report to me and only to me.

Not nine to five. I teach weekday afternoons from late August through early June, so filming happens in a fixed evening block during the school year and in daylight over the summer. Weekends are occasional and never assumed. If a variable schedule is a problem, this is the wrong role.


Responsibilities:
  • Two to four blocks a month, three to five hours each, in a dedicated studio. YouTube long-form, podcast, direct address. You send me a run of show 48 hours ahead, and I walk into a lit room and perform. No prep packet; the block cancels, and that is on you.

  • I speak somewhere almost every month. Bar associations, statewide conferences, power lunches, my own mastermind. You are in the room with a professional camera and microphone set up.  You run pop-up podcasts with the best lawyers in the state while they are standing right there. Social media assets go live the same day, not next week.

  • Half of my highest-value rooms have no camera access. Private workshops, founders' meetings, community events with real security. For those you brief me before I go, four or five setups with the angle and the reason for each, and I shoot it on my phone. You cut it when I land.

  • You ship. This is the whole thing. Perfect is not the standard. Live is the standard. If you cannot let a good asset go out today instead of a great one on Friday, we will not work.

  • You want to be the number two, and you want to win as badly as I do. Not modest. Not junior. Ambitious about someone else's outcome. You want the camera, not the spotlight.

  • You carry yourself well in serious rooms. You will be standing next to me in front of judges, bar leadership, and referral sources I have known for twenty years. How you carry yourself in those rooms costs me something or earns me something long before you publish anything.

  • You can absorb my ideas without chasing every one. I will text you at 11 PM. Most of those ideas should never get made. Capture them, do not act on them, bring them to the weekly.

  • Shoot solo. No crew, no second operator.

  • Run a professional three-camera setup. Sync, framing, audio, lighting. Studio days are multi-cam, and you are the only one in the room who knows how it works.

  • Fast edits yourself, AI-assisted. Text-based editing, auto-clipping, transcript-driven rough cuts. You will have editing support for polished long-form. You own everything that has to move in 24 hours.

  • Own the production calendar. I travel three weeks some months. If you are thinking about August in August, you are already late.

  • Conference travel is part of the job.


Qualifications:

If you read that and thought I am sitting on something big and wasting it, you are right. That is the correct reaction, and it is the whole reason this job exists.

  • You have produced at volume for one person, and you have the numbers. Four years minimum, including at least two years as the content person for a single principal: a founder, an executive, an athlete, an on-air talent, a public figure. I want to see what the channel or the audience did while you were running it. If you grew a personal brand from nothing, say so, and it will count for a lot. If you ran a high-volume operation inside an established brand, that counts too.

  • You have worked for a demanding principal and liked it. Founder, executive, on-camera talent. I will be direct with you, fast, and I will not soften it. It is never personal.

  • You measure the right thing. Anyone can follow a trend. Fewer people can tell me whether the content is reaching law firm owners or just reaching people. If you have done B2B, say so. If your background is sports, news, or another high-volume world, tell me how you would know the difference here. I will teach the scoreboard. I cannot teach speed or nerve.

I want the person who has already done this for somebody else. You took a founder, a creator, or a personality from small to large. You have the growth curve and the numbers behind it. You know what it takes because you have lived it: the volume, the reps, the months where the work is right and nothing moves, the discipline to publish when you would rather keep perfecting. Building from nothing is not a skill you picked up. It is a pattern in your life. You start things. You are drawn to the empty room instead of the running machine, and the part most people find intimidating is the part that gets you out of bed. That is why you want to do it again, and why the second build being harder makes you want it more instead of less. If you had to stop and think about whether that describes you, it does not.

You may not come from marketing, and that is fine. Some of the best people at this job came up shooting a team, a newsroom, or a stage. If you have spent four years turning one day into publishable work by that night, on deadline, every week, you already have the hardest part of this. The brand system will be built and waiting when you arrive. What I cannot teach is pace and nerve.

You have traveled with a founder before. Airports, hotel lobbies, conference floors, a 7 AM call after a 1 AM edit. We are going to have a good time out there. It is still work, not a vacation, and you never lose track of which one is happening.

Do Not Apply For This Job:

  • If you have never carried a content operation for one person, this is not your seat.

  • You need to know your schedule two weeks out

  • You are a filmmaker. This is not cinematic work. Good and today beats beautiful and Friday

  • You want to build your own brand. I will help you build a career. The brand being built here is mine

  • You want remote or hybrid. This is in person, between our Boca Raton and Fort Lauderdale offices, plus travel

  • You cannot show me numbers

In ten years, I want you to look at what we built and know you made it.


About Company

We Take Care of Our People:

  • Competitive pay based on experience.
  • A generous number of vacation days each year.

At Rossen Law Firm, we're more than just a team of experienced criminal defense lawyers. We're a family that cares deeply about people, not just cases. Our firm has built its reputation on trust, integrity, and relentless dedication to those we serve. We believe in ensuring justice and treating each client with the personal attention and compassion they deserve.

We love helping good people when something wrong happens. Our legal team understands what clients are going through, and we are committed to producing outstanding results.

With offices in Fort Lauderdale, Boca Raton, and throughout South Florida, Rossen Law Firm is a high-end criminal and DUI defense firm. Rossen’s 1000+ 5-star reviews tell the story of a criminal defense law firm that truly puts its clients first.

Rossen Law Firm is an equal-opportunity employer.

#WHLAW3

PIb0ec39484e8c-31181-41349930