Kind of. You can't explicitly tie an upstream key to a specific video source to have it automatically always come on and off with that source. But you can set an upstream key to come on and off as part of a cut/dissolve transition. So the tricky part is to make sure you have the USK Next button enabled at the right times -- only when that one source is either coming on or off screen. If you haven't seen my video on upstream and downstream keys, I'd recommend starting there. kzfaq.info/get/bejne/jamTorplnN-qmGw.html If it was me, I'd implement this using macros. I'd build a macro that transitions to that source, and another one that transitions away from that source, and have the macro setup everything associated with the upstream key to make sure it is done properly each time. This is one of those things that hardware-based switchers don't handle as well as software-based switchers. In vMix, for example, you could build the combined source + key as its own dedicated input and then it's really easy to do what you want to do.

Every model of sensor has its own way of responding to color and light intensity, and every manufacturer has their own way of processing the data coming off of the sensor to produce the final image. And even with that, a single camera might reproduce a single color differently depending on its luminosity. There can be color shift going from a brightly-lit red compared to a dimly-lit red, just as one example. Think of colors as a whole range of wavelengths of light. And even though we can often simulate a particular color using Red, Green, and Blue light sources, (1) it's a simulation, not an actual match, and (2) the sensitivity of two different camera sensors in each of their Red, Green, and Blue photosites varies pretty wildly from one model of sensor to another. Hypothetically speaking (and this is over-simplifying), if one camera responds with a given minimum output to colors from 620 to 750 nm in the red photosites, but another camera has the same sensitivity but only for 650-720 nm, they're both picking up colors we'd call red, but the range of colors for each of the two cameras is very different. The two might respond the same way for a red at 685 nm and even have a similar output for that color, but a "red" at 635 nm would register with much more intensity on camera A than camera B. The two cameras would look the same for 685 nm, but camera A would output a signal that is both brighter and more saturated for a red at 640 nm than camera B, which would be darker and the color more muted. There's basically no way to fully compensate for that. Taking the time to create LUTs that adjust for that might get you in the ballpark, but it would be very time consuming to setup and they'll never look completely the same. And you'd have to repeat that LUT creation process under every new lighting situation. No, thank you. The bottom line is that if you work with cameras from different manufacturers, or sometimes even different families within a single manufacturer, that you'll always be fighting differences in colors, exposure, detail, and noise. Sometimes that fight won't be a big deal, but other times there might not be a fix; camera A might be capturing subtleties that camera B simply can't, or that get discarded with the processing that the camera does. Blackmagic Design, in particular, does things especially differently than other manufacturers. It's much easier to get a Sony to "match" with a Canon than either one to a Blackmagic camera. And even though Blackmagic offers a lot more control over color and exposure than other manufacturers in a similar price bracket, those controls might get you only 20% of the way to the control you'd need to make their cameras match other models. If it's at all possible, try to keep to a single manufacturer, and even then, a single product family. You'll spend countless hours and frustration trying to get mismatched models of cameras to look similar, let alone match... and exact matches usually aren't even possible. If I was in your situation I'd sell the Blackmagic cameras and get more Canon XA models.

@@djp_video Thank you. The color difference is a minor issue the quality seems to be way off between the two cameras. As I said in a short throw situation all cameras look great, When it comes to filming at distances of 60 or 80 feet, The Canon still looks great while the Blackmagic look like crap. Difficult to focus and image just looks like mushy clay. I need to experiment more.

It's likely your lenses then. Which model(s) are you using? It's hard to find good quality lenses for the Blackmagic cameras.

@@djp_video I have a few EF Lenses and not sure what I used on the school event I did last month. The issue I was guessing at that time was too shallow depth of field. Used on the 6K G2 Canon Kit lens 18-135 Sigma 30mm Art Sigma 18-35 Art Used on the 4KG2 Panasonic Lumix 12-35 Yesterday I used the new BMD Micro 4KG2 with the Panasonic 12-35 Lens, Wide shot of the stage. I really tried to use a smaller aperture to make sure everything on stage was in focus and used a focus guide but looking at the footage on the laptop after, the Blackmagic footage looked terrible still. It was a rush to set up. I need more time to experiment in this environment. As a general tool the Canon XA-50 is a much better choice for this application. I will save up and get an XA-75.

It would be nice. It seems as though Blackmagic has doubled-down on their existing approach to audio rather than embracing something like this tha would actually be useful.

Not well. I had to drop the bitrate to 9 Mbps to get it to even sort-of behave, and that's much too low for 4K. And even then it had the buffering issue multiple times throughout the live stream. The file is still up if you want to view it -- just follow the link in the video description.

The Z190 isn’t very good. I’d avoid it.

. @djp_video Any recommendations? We film in a controlled environment (TV studio) but also film musicals, places, and concerts that tend to be low light at times.

I'd hang tight until after NAB in April. Sony often makes new announcements then. But if they don't announce anything new, you could go with the PXW-Z90. The Z150 goes in and out of stock. I picked up a brand new one just a couple months ago. But I wouldn't buy one today with NAB right around the corner.

The captioning is just the automatic version provided by KZfaq. I can't speak to how well KZfaq's automatic captioning works.

Well I know, however does your KZfaq cc show the same results when you go back and re-watch ur video? Like the word Laurel not showing up at all, thru normal capturing of ur voice? And the inability of cc to capture the voice output from ur computer? How do u figure the audio gap? And have you heard of reverse speech?🙃