Count the decisions a vision mixer makes during a single live news bulletin. Camera cuts, graphics calls, audio levels, talkback with the gallery, a late script change coming through on one screen while a live feed drops on another. Now imagine making all of those decisions while reaching awkwardly for a control surface placed six inches too far away, squinting past a monitor mounted at the wrong height, with a cable snagging every time the chair moves. None of those individual annoyances sound like much. Stacked across a three-hour live broadcast, they're the difference between a clean show and a missed cue.
That's the part broadcast control room design tends to get underestimated on. The consoles aren't furniture, they're the physical interface between an operator and everything they need to control under time pressure that doesn't forgive hesitation.