Should you shoot entire film on one ISO setting?

Actually multiples of 160 are better on the Canon DSLR's that allow it. The noise test show (marginally) less noise at 160 than 100, 320 than 200 etc..

That said, you're okay changing ISO. Generally the lower the better, but under 800 should be great. Above that and you'll start seeing a lot of noise.
 
Iv heard DP say hes shooting the entire short film at the same fStop \ iso. This sorta makes sense to my limited experience. This forces light control and lighting techniques that are more cinematic.. you have to BRING the light up, or bring the light down.. you cant just DIAL the exposure in by turning the aperture down of cracking up the iso up.
 
T3i's don't have 1/3 stops, he needs magic lantern for that, which will probably change his mind on how he shoots out his ISo's.

160 will be cleaner than 100 and 200, and 320 cleaner than 200 and 400.

Get ML. =]

Getting rid of my 5D now, but I typically just stay between 320 and 800 and it's good. Don't try to adhere to a single ISO, there's no point when you're working with H.264 / 8-bit 4:2:0

Get the best image you can in camera.
 
Iv heard DP say hes shooting the entire short film at the same fStop \ iso. This sorta makes sense to my limited experience. This forces light control and lighting techniques that are more cinematic.. you have to BRING the light up, or bring the light down.. you cant just DIAL the exposure in by turning the aperture down of cracking up the iso up.

ISO, fine.

But same aperture throughout the entire film :hmm:

Aperture is one of the many key ways to control the mood, feeling, msg of the shots and scenes you want to convey.

You can manipulate light as well as aperture. You dont have to do just one. Changing the aperture just to be lazy is ofcourse a no no.
 
F-stop changes are specifically for controlling the DoF on a per-shot basis.
Shutter is purely for effect if moved off of the standard 180 degree setting.
ISO (in film) is chosen based on the "Look" you're trying to acheive, married with the lighting you're going to be using.

Changing the lights is the correct course of action, but keeping everything else the same is handcuffing yourself creatively. The DP (Greg Toland ?) on Welle's "Citizen Kane" and Welles bought and modified special lenses (from what I understand, all of them that were available) to let more light through so they could shoot with a smaller aperture to get longer DoF to make some of the shots they were going for possible.

Adjust the lighting, but adjust them to match the creative choices you're making rather than adjusting the camera (or locking it into settings) to match the lighting.
 
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