Your eyes adjust automatically to different color temperatures, but cameras can’t. You have to tell your camera the proper white balance for a given scene. While you can do this in post-production, it’s best to get your white balance as close to accurate as possible in-camera. Doing this will save you time in the long run and ensure that you’ve got the proper visual data in your footage to work with when you edit.
This doesn’t mean you have to achieve to-the-degree accuracy. Most digital cameras can shoot in raw format, which leaves a lot of room for editing in post. Hara recommends starting with a white balance preset, like daylight or tungsten, and manually adjusting from there. You can do this in many different ways; here are a few options.