Yes, manually set white balance. Some cameras will go smoothly with wb changes like the gh3, some drastic like the omd, or the sony's fs100., some don't seem to change at all.
A drastic change is a mess because the wb can move up and down on the same scene, same angle.
Regardless it doesn't stop there with motion, because motion has to have continuity in look, especially if your cutting from different settings and back.
You shoot outside in that standard Kodachrome everything is colorful look and then cut to an inside session where it's north light and muted and the difference is hard to accept in color and tone.
There needs to be a commonality in the look and color is probably the first thing a viewer notices and digital more than film, (I know nobody is talking about film), tends to be ambient color sensitive.
We just did an interview/lifestyle/dialog piece in one house, one subject. We painstakingly made sure we used the same key lights, (kinos), the same fill (white bounce cards) the same cameras and settings (R1's), the same manual wb settings, the same tone/curve and gamma settings.
Even with that going scene to scene it looks like different cameras, different days. It has to then be worked in post and the RED's at 444 give you more information to work with at the start, still motion is a fragile file.
If your shooting, inside to out, car shots, to beach, different times of day, then this becomes problematic.
This is one of the reasons that so many dps shoot a flat log style with their footage, to give room to move the footage, though that can deceive you, as a flat, undersaturated file will give the impression that all scenes match, until you start bumping the contrast and saturation, then the differences appear.
I believe that is why so many camera testers that shoot a new camera out of the box opt for black and white.
Everybody approaches this differently. On the cable show Longmire, which is shot on REDS I believe, they give all the footage a warm global look. That fits because it's a western themed show and it makes it a lot easier to hold the common look from inside to out, bright sun to overcast.
Some shows, even very good shows just miss it and you can see the jump. Continuous, fill light helps.
One thing we've done is to take footage, drop it into the NLE, or CineX while we're working and do a screen shot of the viewer. Then we take those screen shots into a photoshop file and just keep a poster board up on the screen that shows the look from scene to scene. This gives us some idea of where we are going, though most of the time, you can't do a whole lot on set to correct it, unless you have gobs of time and nobody has gobs of time on set anymore, so you just hope and pray you can pull it back in post.
You should make note that if your camera plays a movie in quicktime, quicktime X (usually a default player on most new apple systems) reads a different gamma than quicktime 7, which can read a different gamma and look than an NLE like final cut pro and this can be deceiving as sometimes what goes into all three with match sometimes they'll look 40% different.
Even making galleries for client review can change it. We use Media Pro which use to be I-view and it reads something way different when a small quicktime file is placed into it. It usually goes about 1 stop darker, which can be confusing.
This is one of the reasons a raw camera works well for fast production.