I recently used the Canon R5 C and the Fujifilm X-H2S / X-S20 for a professional project, having to match the two camera brands in Lightroom. It didn't need to be a strict match, however I knew I needed to deal with both types of files in post production so I spent some time figuring out how to get similar results for these portraits.

Takeaways: the smaller sensor of the X-H2S was more sensitive in low light, which is a good thing, but the Canon performed better at high ISOs (past 6400) so really this was a give-and-take outcome; Canon colours overall came across much warmer and less contrasty, whereas the Fujifilm showed a more muted palette (true to its vintage inspirations) with less saturation but more contrast; as a result, on the Canon I overexposed slightly as shadow detail was harder to restore, whereas on the Fujifilm it's the opposite (highlights are tougher)

Canon settings:

• CRAW + JPEG
• Anti-flicker OFF
• Picture style:
  1. NEUTRAL
  2. Sharpness 0
  3. Fineness 2
  4. Threshold 2
  5. Contrast 4 (max)
  6. Saturation -1
  7. Color tone -2 (more reds)
• Manual shutter
• Dual recording to both CF and SD

Fujifilm settings:

• RAW + JPEG Fine
• Film sim: Classic Neg
  1. Grain effect: OFF
  2. Colour chrome: OFF
  3. Colour chrome FX blue: OFF
  4. DR100
  5. Tone curve: H-2; S+1.5
  6. Color - 2
  7. Sharpness 0
  8. High ISO NR 0
  9. Long exposure NR 0
• Manual shutter
• Dual recording to both CF and SD

Having worked in both corporate and newsroom environments, there are similarities when it comes to building a video studio. Most of these tips can even be applied to building your own home studio.
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1. Maximising shoot space: don't just shoot in the studio but all around, whether in the control room, maintenance space, or even the office itself
2. Lighting: do you want TV light fixtures in the ceiling of the podcast room or are you planning on bringing in lighting when there is a shoot? Personally, and if there is budget, a permanent light railing fixed to the ceiling with studio lights would be more helpful
3. Cameras: same question as lighting, do you want fixed cameras or just bring mobile cameras? It might be good to use smaller cameras on tripods/wheels that can be moved around the space according to the type of shoot, feeding back into the control room (this means cables, see below)
4. Connectivity & flooring: I would consider elevating the podcast floor if possible, that way the camera, light & network cables running to and from the gallery can be hidden underneath the elevation
5. Curved table: a curved desk (half-moon, flat side facing camera) anchored to one side of the room would mean only having to dress up one side of the room (the gallery side potentially, depends what the background needs to be) and have all cameras on one side of the room out of each others’ way
6. Reflective surfaces: need to avoid any gloss textures and see if any glass in the room can either be frosted (if you don’t want to see through it) or treated with anti-glare 
7. Talkback & comms: need to figure out how the presenters in the room will communicate with people in the control room – i.e. will this be via earpieces (wireless) or via some kind of intercom system
8. Access: is there a way to build the room so that presenters can come in and out without being seen doing so? I would put the desk and background where you do not have an access door, to maximise shoot space and allow smooth entries/exits out of shot
9. Backgrounds: this is extremely dependent on what you want to use the room for; I personally think it would be useful to have a large TV (the size of a wall) on wheels stored in that room regardless of context, that way the room can be used to shoot anything with virtual backgrounds
   
10. Network strength: this might seem basic but it needs to be tested ASAP