Color Temperature and White Balance
The colour of white light is described by its colour temperature, measured in kelvin, and it runs in a direction that feels backwards at first: low numbers are warm and orange, high numbers are cool and blue. The two reference points everyone works from are tungsten at about 3200 K, which is warm, and daylight at about 5600 K, which is cool and neutral. LED fixtures can be set anywhere across that range, but their light is rarely as spectrally complete as real tungsten or daylight, and that turns out to matter.
How faithfully a source renders colour is captured by its CRI, or the newer and more thorough TM-30 — essentially a score for how accurately it reproduces colours compared to a reference light. A high score means reds stay red and skin looks natural; a low-CRI fixture can make a costume or a face look subtly wrong on stage and noticeably worse on camera, even when its kelvin number is exactly right. So colour temperature tells you the hue of the white, but CRI tells you whether the colours lit by that white can be trusted.
White balance is the camera's half of the same conversation. You tell the camera what white looks like under the current lighting, and it reproduces neutrals correctly from there. Get it wrong and skin tones and scenery drift away from reality. The practical lesson, on stage and on camera alike, is that consistency beats absolute correctness: a whole stage lit at a uniform "wrong" white reads perfectly fine to the eye, whereas a mix of 3200 K and 5600 K sources in a single shot can never be balanced into looking right.
Match all sources before correcting any.