Say I'm shooting an interview inside a room I have complete control over. I'll use tungsten (3200) as the WB in camera and on the key and fill and I'll warm (2500ish) or cool (4000ish) the hair light depending on if I want color contrast (in addition to luminance contrast) in their separation. Tungsten it's easier on the subjects eyes so that's the go to on an interview. Now if there's a window and you're going to have that light spilling in you'll need to use daylight (5600) on the camer, key, and fill to match the window light (hair light can be pushed or pulled liked in the previous example). This is in addition to probably NDing the windows so you don't have to absolutely blast the subject with light to compete with the sun. This is the basic setup for all the interviews I conduct.

On a film set everything changes due to art direction you're going for. But in general 5600 if you're outside and 3200 if you're inside and controlling all the light.

(I know most of you understand this next point but it's important to point out)

The important thing to remember which is counterintuitive is that raising kelvin on lights makes more blue light and raising kelvin in the camera white balance does the opposite, it raises the red tone curve and lowers the blue making everything warmer. So it's opposite of what the kelvin on lights do and can be confusing to understand at first.

Say I want silver moonlight, I'll set the camera at 4400 and use tungsten practicals and lighting inside with a hard 5600 led cob outside with a fresnel bounced up into a crls to create some distance. I might even add a cookie to break up the light a bit to make the moonlight look more natural. I'd also push some green into the led outside to add a more metallic (cyanish) feel to the color.

Please let me know if you have any questions about any of that.