Also, there is an aditional chalenge at the moment you work in multicam config.
If you work on location (by oposition to the studio), you'd need to light the external window(s) in the day (not always possible), specially in unstable weather (clouds like cumulus are a mess because their effect is brutal, sudden shade, sudden bright) so the artificial lightning always commands.
But when multicams are involved you'll have different frame angles of the same scene. It's one of the most difficult situation for a DP. I'm learning this at the moment and it's complicated. The help of the old foxes from the cine crew is priceless if you can access it.
Technical equipment and gear is easy to learn, but the use of CL requires a lot of practise and learning from mistakes. You need to burn watts.(and warm this planet a little bit more. We're freezing in Madrid)
Something that works fine in an axis, doesn't in another. It's not rare to make mistakes on set and end with 1 or 2 stops differences and the consequences can be that it looks from another scene-moment. I'm actually correcting frames of a multicam sequence that has this issue on some footage and it's time consuming. My patience being close to the absolute zero with those kind of problems.
On the tungsten side (3200), you can control the intensity and therefore the temp. Tunsten has the same color rendition indice than the sun: 99 and those lamps stay stable during all their lifetime (not the HMIs).
The HMIs (5600) have more power BUT...the color rendition is worse than the tungten and lifetime of lamps is shorter. When the lamps are getting old, they loose their color temp and the spectral is not continuous like tungsten but like a wave. (no mess with shutter speed and keep an eye on the lifetime's lamp)
To light the subject(s), you need to keep in mind the Lambert law (try to find some infos in your lenguage because I can't explain it with my limited english). So you know that the distance and the power require is not the same. As you'd imagine, it's a square law.
I've noticed that the 8bits are crap with tunsten. The impact is more pronunced than with other sources. So if you plan to shoot in CL motion with those dslrs, you'll have more possibilities to get banding (very nice indeed!...). The way you expose is critical, very specially with those still cameras. You need to be (in digital!) on the very limit of blowing highlights, just below and the flatter you shoot the best (IMO, not everybody needs it) and watch particularly the histogram because there is no reliable monitoring.
Our isos settings are generally from 4-500 isos to 800-1250 and quite open. 800 is a sort of standart for me. As the need for elec power is critical with the increment of distance, you need to have flexibility if budgets are tights.
Best regards from freezing winter 2 in Madrid.