A face looks neutral in the wide shot and orange in the close-up. The camera may have adjusted white balance between takes, or the subject may have moved into different light. Either way, cutting between the shots makes the mismatch conspicuous.
White balance is part of planning a sequence, not just correcting one attractive frame. Decide which light illuminates the subject and keep that relationship consistent while filming the connected shots.
Look at the light before the menu
A window, overhead lamp and decorative light can each contribute a different colour. Adobe’s filmmaking guide explains why mixed lighting complicates white balance and describes using a neutral reference. One global adjustment cannot always make differently lit areas match perfectly.
Where practical, simplify the light falling on the subject. Then set white balance using your camera’s supported method, such as an appropriate preset, manual setting or suitable reference card. Follow the camera’s instructions for making a custom reading.
Keep a reference with the sequence
Record a brief shot of the reference under the same light as the subject. Note the camera setting and repeat the check if daylight, lamps or location change. A reference filmed in another room does not describe the light in this scene.
Review neighbouring clips together. Automatic white balance may shift during a take as different colours enter the frame; a deliberate fixed setting can avoid that behaviour when the lighting itself remains stable. If the light changes substantially, reassess rather than keeping the setting simply for consistency.
In editing, first bring related shots into a coherent baseline, then apply a creative colour treatment. Keep an unmodified version or reversible adjustments so you can revisit decisions. A warm visual style can be intentional; an unexplained colour jump at every cut usually distracts from the subject you worked to film.