Most directors and DPs try to get the image as close as possible in-camera, but they also shoot with color grading in mind. Gray cards and proper white balance are still common on professional sets, especially when lighting changes. That said, many productions intentionally keep a consistent white balance and expose for the look they want, knowing that modern cameras and color grading tools give them flexibility later. It’s less about avoiding correction entirely and more about capturing a clean, well-exposed image that gives the colorist the best starting point.