halogen and Fluorescent

There's nothing on the website to say what colour temperature the bulb is, so I don't know I'm afraid - but if you already have it, turn it on next to a normal tungsten light in your house and it should be fairly easy to see if it'll be a problem.

You can also gel your lights to match - gels are relatively inexpensive.

The color temperature on the work lights are 6500K. They are only going to be used to illuminate the white muslin. The DP3 Jr, which will light the subject is around 3500K.

wparrish24 said:

The color temperature on the work lights are 6500K. They are only going to be used to illuminate the white muslin. The DP3 Jr, which will light the subject is around 3500K.

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Well then, as knightly says, your best solution is to gel the lights to match (assuming you want the background to look white and not blue). Will you have any sunlight in the room? If not, gel your work lights with Full CTO (Colour To Orange) to match the key light. If you can see any sunlight, then gelling the key with a Full CTB (Colour To Blue) will probably lose you too much light - you may have to compromise with a half CTB. While understanding and controlling colour temperature is an important skill in lighting for film, having lights match up perfectly is not essential by any means - a slightly cooler background/slightly warmer subject can make things "pop" and add visual interest to a shot.

If you're blowing the background out (making it so bright that it exceeds 100 on the white levels) like most productions with an infinite-white background do then color temp shouldn't matter. The BG will be so bright and over exposed that it'll look like pure white regardless.

You'll notice the color difference though Iif your bg lights aren't bright enough to blow it out, and depending on how close the actor is, your background may act as a giant bounce card splashing 6500k backlight on him/her.