There's one more issue re: color and night stuff that is kinda real..but is only dealt with in big budget stuff...so this is probably a stupid thing to mention, but what the heck.
Most movies have the crew and money and equipment ( man lifts and cranes and all that stuff ) to actually " pre light " some scenes...and in part this is color correction. I've been on jobs where all the street lights for several city blocks get " corrected" with color gels ..usually a couple days before the 'shoot' day / night .
For example, sodium vapor lamps ( street lights etc ) can be color corrected with rosco or lee stuff... but you have to get up there in a manlift or crane and take the head off and put gel into it and put head back...then you have to take gel OUT after shoot is over...yet another day of people working on that stuff. It's very expensive to do this kinda thing. But it is done pretty often in movie land believe it or not.
That way you dont end up with really 'green' people in the shot and so on....you know, flourescents, sodium vapor, 32k stuff in buildings, all that stuff is color... and in most cases it is corrected if possible. HOWEVER, it is also true that sometimes it just gets left alone cause it's okay to let that stuff turn into what it is.... and looks fine... ( you can't color correct all the lights of the manhattan skyline ). BUT you CAN guess what it's gonna BE when it gets dark...and color correct at the beginning at the lens....
So that's another issue, but this probably is not a good place to talk about that until the initial solution of exposure etc is happy.
just rambling on...
GO RAVENS !
PS... to the poster.... Monty... shoot a color scale and grayscale at head of your series... so you know where to put your white balance in post !