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Video projectors need to display at daylight color balance (6500K) for the audience to see a color correct image with their naked eyes. No matter what your ambient viewing conditions, this holds true for all video displays. The reason for this is that the video signal itself is color corrected to display properly on 6500K hardware, and all video monitors (not true for all computer displays) have a hardware display compensation factor that is conformed to 6500K.
Now here is the rub, when you light a stage with 3200K (or whatever) color temperature fixtures, and then we chip the camera's using our 3200K correction filter, the projection screen shows up in the camera shot as very, very, blue. So, if'n ya wanna make video tapes where everything you see is color correct (like in the real TV production world), then you should light in 6500K (or 5600K), filter wheel compensate the camera's for 6500K/5600K and then the videotape audience, and the live audience see the same thing.
The big boy TV studios use a different approach. They light and chip the camera's for 3200K, then they set any video displays visible in production to display 3200K corrected. You may ask why we don't do this at corporate events. It is because the audience in the big TV studio sees a very, very, red image on all video displays, and the TV producers don't give a damn because the audience isn't paying for the experience, and replacing the correction every 6-10 hours costs extra money.
So, as you see, if color correct video tapes mean anything to you (as far as whenever the video projection screens appear in camera shots, they don't appear very, very, blue), then the best compromise for the live and the tape audience, is to correct all non-daylight lighting fixtures to daylight utilizing the proper color correction media.
The real rub lies in three areas, Cost, Cost, & Cost. It takes 40-50% more fixtures to achieve the same coverage at the same intensity. It takes a lot of media to correct all the fixtures and change it every 8-10 hours to prevent the temperature from slipping as it burns. It also takes a really good (read expensive) LD to light using 5600 or 6500 correction and still achieve a warm natural look for the live audience (just dropping in daylight correction without proper design can result in a very cold pale flesh tone to the eye).
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